LIBRARY OF CONGRESS. 

Ttfw* 

@{;np. Ccjtijrir^t 

Shelf ..tr'-ii 

UNITED STATES OF AMERICA. 



PRICE 25* 




DENISON'S ACTING PLAYS. 

ALTA SERIES, Price 25 Cents Each, Postpaid. All Others 16 Cents Each. 



Ail that Glitters is not Gold, com- 
edy, 2 acts. 2 hrs 

A Very Pleasant Ev farce, 30 m... 

Assessor, sketch, 10 min 

Babes in Wood, burlesque, 25 m. 

Borrowing Trouble, farce, 20 min. 

Bad Job, farce, 30 min 

Bumble's Courtship, sketch, 18 m. 

Bardell vs. Pickwick, farce, 25 m.. 

Christmas Ship, musical, 20 min... 

Caste, comedy, 3 acts, 2 hrs. 30 m. 

Cow that Kicked Chicago, 20 m . . . 

Country Justice, farce, 15 min 

Circumlocution Office, 20 min 

Chimney Corner, drama, 2 acts, 1 
hr., 30 min 

Cut off with a Shilling, farce, 2* m 

Danger Signal,drama, 2 acts, 2 hrs. 

Desperate Situation, farce, 25 min. 

East Lynne, drama, 5 acts, 2 hrs.. 

Fair Encounter, 20 min 

Family Strike, farce, 20 min 

Fruits of Wine Cup, temperance 
drama, 3 acts, 1 hr 

Friendly Move, sketch, 20 min. . 

Home, comedy, 3 acts, 2 hrs 

Homoeopathy, farce 30 min 

Hans Von Smash, farce. 30 min.. . 

Hard Cider, temperance, 15 min. 

Initiating a Granger, farce, 25 min. 

In the Dark, farce, 25 min 

In the Wrong House, farce, 20 m. 

Irish Linen Peddler, farce, 40 min. 

Is the Editor In, farce, 20 min.... 

Til Stay Awhile, farce, 20 min 

Ici on Parle Francais, farce, 40 m.. 

I'm not Mesilf at All, farce, 25 m. 

John Smith, farce, 30 min 

Just my Luck, farce, 20 min 

Kansas Immigrants, farce, 20 m.. . 

Kiss in the Dark, farce, 30 m 

Louva the Pauper, drama, 5 acts, 1 
hr. 4< min 

Love and Rain, 20 min 

Larkins' Love Letters, farce, 50 m. 

Lady of Lyons, 5 acts. 2 hrs. 30 m. 

Limerick Boy, farce, 30 min 

Lost in London, drama, 3 acts, 1 h. 
45 min 

London Assurance, comedy, 5 acts, 
2 hrs. 30 min 

Lucky Sixpence, farce, 30 min 

Lucy's Old Man, sketch, 15 min.. 

Michael Erie, drama, 2 acts, 1 hr. 
30 min 

Mike Donovan, a farce, 15 min.. . 

Mitsu-Yu Nissi, Japanese Wed- 
ding, 1 hr.. 15 min 

Model of a Wife farce, 25 min... . 

Movement Cure, farce, 15 min. .. 

Mrs Gamp's Tea, sketch, 15 min. 

Misses Beers, farce, 25 min 

My Wife's Relations, comedy, 1 hr 

My Jeremiah, farce, 20 min 

My Turn Next, farce. 50 min... . 

My Neighbor's Wife, farce, 45 min 

Not Such a Fool as He Looks, com- 
edy, 3 acts, 2 hrs 



M. 


F. 


6 


3 


3 





3 


2 


4 


3 


3 


5 


3 
1 


2 
1 


6 


2 


4 


3 


5 


3 


3 


2 


8 





6 





S 


2 


2 




7 


4 


2 


3 


S 


7 





2 


3 


3 


6 


4 


5 





4 


3 


5 


3 


4 


3 


4 


2 


S 





4 


2 


4 


2 


3 


3 


4 


2 


4 





4 


3 


3 


2 


S 


3 


4 


3 


S 


1 


2 


3 


9 


4 


3 


2 


S 


4 


5 


2 


6 


3 


9 


3 


4 


2 


2 


3 


8 


3 


1 


3 


6 


6 


3 


2 


5 









3 


3 


4 


6 


3 


2 


4 


3 


3 


3 


5 


3 



On Guard, farce, 25 min 

Only Daughter, drama, 3 acts, 1 
hr. 15 min 

Our Country, drama, 3 acts, 1 hr.. 

Odds with Enemy, 5 acts, 2 hrs 

On the Brink, temperance drama, 
2 acts, 2 hrs 

Out in the Streets, 1 h. 15 min.. .. 

Pet of Parsons' Ranch, frontier 
drama, 5 acts, 2 his 

Pets of Society, farce, 30 min 

Pull Back, farce, 20 min 

Pocahontas, musical burlesque, 1 hr 

Parlor Entertainment, 25 min 

Played and Lost, sketch, 15 min.. . 

Persecuted Dutchman, 35 min. ... 

Quiet Family, farce, 45 min 

Regular Fix, 'farce, 50 min 

Rough Diamond, farce, 40 min 

Silent Woman, farce, 25 min 

Solon Shingle, comedy, 1 hr. 30 m. . 

Soldier of Fortune, comedy, 5 acts, 
2 hrs. 20 min 

Seth Greenback, drama, 4 acts, 1 
hr. 15 min 

Schoolma'am (The), drama, 4 acts, 
1 hr. 45 min 

Slasher and Crasher, 1 hr. 15 min.. 

Squeers' School, sketch, 18 min. .. 

Sparkling Cup, temperance drama 
5 acts, 2 hrs 

Taming a Tiger, farce, 20 min . . . 

That Rascal Pat. farce, 35 min . . . 

Too Much Good Thing, 50 min... 

Twenty Minutes Under an Um- 
brella, 20 min 

Two Gents in a Fix, farce, 20 min. 

Two Puddifoots, farce, 40 min 

Ticket of Lea^e Man, drama, 4 
acts, 2 hrs. 45 min 

Turn Him Out, farce, 50 min 

Toodles, drama, 2 acts, 1 hr. 15 m. 

Ten Nights in a Barroom, tem- 
perance drama, 5 acts, 2 hrs... 

Two Ghosts in White, sketch 25 m 

L'ncle Dick's Mistake, farce, 20 m . 

Under the Laurels, drama, 5 acts, 
1 hr. 45 min 

Wanted a Correspondent, farce, 1 h 

Wide Enough for Two, farce, 50 m 

Which Will He Marry farce, 30 m 

Won at Last, comedy, 3 acts, 1 hr. 



45 



Wonderful Letter, farce, 25 min.. 
Women of Lowenburg, historical 

sketch, 5; scenes. 50 min .. 

Wooing Under Difficulties, 35 min. 
Yankee Detective, 3 acts, 2 hrs ... 

ALTA SERIES— 25c. each. 

Beggar Venus, play, 2 hrs. 30 nun. 
Early Vows, comedy, 1 hr 
From Sumter to Appomattox, mili- 
tary play, 2 hrs. 30 min 
Shadow Castle, play, 2 hrs. 30 min. 
Jedediah Judkins comedy, 2 h. 30m 
Uncle Josh, comedy, 2 hrs 



4 


2 


5 


2 


10 


3 


7 


4 


12 


3 


6 


4 




♦ 


9 


3 





7 







10 


2 


2 


5 




2 


1 


3 


4 


4 


6 


4 


4 


3 


2 


1 


7 


2 


c 



3 


7 


3 


6 


5 


5 


2 


4 




12 


4 


3 





3 


2 


3 


6 


1 




2 





3 


3 


c 




3 


3 


3 


6 


2 


1 1 


5 







3 


2 ■ 


5 


4 


4 


4 


5 


2 


2 


8 


7 


3 


4 


1 


10 


10 


4 


3 


s 





6 


4 


4 


2 


6 


2 


5 


4 


• 7 


5 


s 


3 



T. S. DENISON. Publisher, 163 Randolph St., Chicago. 



Private Theatricals 



A CONCISE MANUAL . 

GIVING SPECIAL ADVICE REGARDING THE FORMATION OF COMPANIES 
SELECTING OFFICERS AND PLAYS, REHEARSING, ARRANGING 
THE STAGE, PREPARING STAGE ILLUSIONS, MAKING— 
UP, ACTING, DRESSING, SUITABLE PLAYS, 
PUBLIC PERFORMANCES, ETC., ETC.. 




CHARLES TOWNSEND. 

f 



CHICAGO : 
T. S. DENISON, Publisher 
163 Randolph Street. 





TO MY FRIEND 
HARRY D. BROWN, 

IN MEMORY OF MANY PLEASANT HOURS 

THEATRICAL AND OTHERWISE. 

C. T. 

New York, July 6th, 1891. 



Copyright, 1891, by T. S. DEMSON. 



CONTENTS. 



CHAPTER I. s. 
Opening Remarks. — Private Theatricals - No Defense Required — Con- 
cerning Plays— Some Good Advice — A Specimen Programme— Large 
vs. Small Casts — Working in Harmony n 

CHAPTER II, 

The Company. — Annoying Obstacles — The Right People — The Lead- 
ing Man — The Light Comedian — The Low Comedian — The Heavy 
Man — Old Man — The Juvenile Man — Walking Gentleman — Utility- 
— The Leading Lady — The Soubrette— Walking Ladies — Old 
Women — The Manager — The Prompter — A Question of Duty. . .13 

CHAPTER III. 

The Officers. —The Manager — A Good Selection — His Duties — His 
Authority — Regarding Plays - Casting the Characters — Rehearsals 
— The Prompter — Whom to Select — Special Duties — Properties — 
Music — The Treasurer 17 

CHAPTER IV. 

The Stage. — Idle Objections — The Drawing-room Stage — Arrange 
ments — The Wings — Scenery — The Dressing Rooms — Lighting the 
Stage — Plan of Theater — The Musicians — The Curtain— Stage Set- 



tings — Special Advice. . . , 21 

CHAPTER V. 

Stage Illusions.— Rain — Wind — Thunder — Lightning — Snow — 
Colored* Fire — A Dark Stage — Moonlight — Sunlight — Water — 
Fife 25 

CHAPTER VI. 



The Play.— What to Avoid— The First Consideration— Society Plays- 
Costume Plays — Short Plays — A Question of Make-up — Casting the 
Characters — Aspiring Amateurs — A Typical Cast — Studying the 

Play — Importance of Minor Parts — Making a Hit 29 

v 



VI 



CONTENTS. 



CHAPTER VII. 

Rehearsals. — Ready for Business— Where to Rehearse — Promptness — 
The First Rehearsal — Learning the Lines — The First Step — Follow- 
ing Instructions — Dressing the Stage— Forming Pictures — An Im- 
perative Rule — Keeping Quiet — Costumes — The Prompter 34 

CHAPTER VIII. 
The Art of ACTING. — A Consideration — Realism — The Limit — 
Drunken Business — Entrances and Exits — Restlessness — About 
Gestures — General Business — Stage Fights — An Example — Love 
Scenes — Rushing a Scene — Managing the Voice— Appearing Nat- 
ural — Pauses — Too Much Emphasis — Attention to Business ... .38 

CHAPTER IX. 

Making Up and Dressing. — For the Drawing-room Stage— Articles 
Required — Juvenile Roles — Elderly Roles — Old Maids — German — 
French — Spanish — Italian — Negro — Dudes — Villains — Irishmen — 
Value of Practice — Special Advice to Ladies — Drunkards — Dress — 
Incongruity — Modern Plays — Servants — National Characters — 
Effects of Color 44 

CHAPTER X. 

The Choice of Plays. — Drawing-room Plays — Suggestions — Plays for 
two Characters — For three, four, five, six and seven Characters — 
Special Descriptions and Advice .50 

CHAPTER XL 

Public Performances. — Playing in a Regular Theater — A Word of 
Warning — Rehearsals — Outside Work — Too Ambitious — Special 
Talent — One- Part Plays — Emotional Plays — Large Casts — Supers — 
Scenic Effects — List of Suitable Plays, with Full Descriptions. . . .62 



CHAPTER XII. 

Theatrical Terms.— A Puzzle — Glossary—Alphabetical List of Theat- 
rical Words and Phrases — A Complete Dictionary of Terms 74 



PREFACE. 



RIVATE theatricals, when properly managed, cannot 



1 fail to interest and amuse those who take part therein. 
A well-acted play is, indeed, a source of enjoyment to alJ 
concerned. Those who portray the various characters en- 
joy the bustle and excitement of preparation, the lights, the 
music, the odd sensation of assumed individuality — wherein 
lies the peculiar fascination which the stage exerts, while 
the spectators are amused by the wit and humor, or touched 
by the pathos of the mimic life going on before them. 

To be successful, a performance must be easy and 
natural. The business of a scene must neither be rushed 
nor dragged. Actors must be perfect in their lines and 
business. There must be no incongruity in make-up, cos- 
tumes, properties nor stage settings. There must be a sense 
of harmony and of the "eternal fitness of things," or the 
performance will not be agreeable. How to accomplish all 
this is a question that puzzles the inexperienced. The 
arrangement of the stage, the wings, the curtain, the scenery 
— all must be understood. Then, too, one must know how 
to prepare stage illusions — how to represent snow, rain, 
wind, thunder, lightning, and all the " tricks of the trade " 
which serve to give an air of reality to the performance. 
Besides this, one must know how to make up and dress the 




Vll 



Viii PREFACE. 

various characters of a play so that the performers may 
look as well as act their parts. Another serious question is 
that of selecting plays. Having no guide, amateurs are 
prone to choose unsuitable plays in which they cannot hope 
to win success. Small wonder then, that failure often re- 
sults; indeed, it is stranger still that success is ever won. 

To clear away this fog and make plain sailing for the 
inexperienced amateur, is the purpose of this book. 

A great variety of "Guides" have been published, but 
none of them are to the purpose. They usually overshoot 
the mark, ignoring entirely the countless details so necessary 
to the tyro, and while containing grave dissertations on 
"art," pass by, as unconsidered trifles, the very subjects in 
which the amateur is most deeply interested. 

In preparing this work I have endeavored, above all else, 
to be thoroughly practical. I have wasted no words in 
theorizing, but have confined myself to plain, everyday 
facts, written in plain, everyday language. 

The chapters relating to the formation of the company, 
the officers, the arrangement of the stage and illusions, the 
play and rehearsals, will be found to cover the ground fully. 
The chapter on acting treats the subject broadly yet con- 
cisely, being entirely devoid of "glittering generalities." 

The subject of making up for the stage is one in which 
amateurs are deeply interested, and in this work I have 
described how to produce the usual effects in an easy way. 
I have avoided any description of the make up for tragic or 
other unusual roles, such as no amateur would attempt, for 
it would be simply wasting time and space to describe a 



PREFACE. 



ix 



make up for Lear, Othello, or any similarly impossible 
character. 

The choice of plays has received particular attention. 
The most suitable plays for the drawing room or other small 
stage — requiring from two to seven characters — are fully 
described, so that no mistake can be made in the selection. 

The more advanced amateurs have a chapter devoted 
to their interests, with special descriptions of plays suitable 
for public performances. 

There are many words and phrases used by actors and 
playwriters, which are not comprehended by the uninitiated. 
Therefore, I have prepared a glossary of these terms which 
will explain much that heretofore has not been understood. 

I trust that this book will meet with the favor which the 
public has so generously bestowed- upon my previous works, 
and that within the following pages the ambitious young 
actor may find something both interesting and instructive. 

Charles Townsend. 



PRIVATE THEATRICALS. 



CHAPTER I. 

OPENING REMARKS. 

THERE is no social amusement more entertaining than 
private theatricals, and none so beneficial. Holding 
"the mirror up to nature " is a fascinating pastime, and the 
benefits arising therefrom are manifold. Voice, carriage, 
gestures — all are improved; diffidence and self-conscious- 
ness rapidly disappear, and awkwardness soon gives way to 
well bred ease. 

Strictly speaking, the term " private " theatricals is ap- 
plied to those entertainments given to invited guests in 
private houses ; but the general acceptation of the term is 
broader than this, and is applied to all dramatic entertain- 
ments given by amateurs elsewhere than in a regularly ap- 
pointed theater. 

The purpose of this book is to guide the tyro through 
the more or less tangled maze leading to the Thespian 
temple, and to show that with a little care the way is neither 
as rough nor blind as one imagines it to be. 

At the outsetf it may as well be understood that private 
theatricals — whether given in house, hall or schoolroom — 
require no defense. The day is past for the "unco' guid" 
to frown down this harmless amusement. Therefore, the 
only possible fault to be found nowadays will be in the 
choice of plays, or the acting of those who take part. 

ii 



12 



PRIVATE THEATRICALS. 



Advice in this connection is most pertinent: Choose 
suitable plays. 

When you are giving an entertainment in a drawing 
room or on a small stage, you must "cut your garment 
according to the cloth." Scenery is no longer an especial 
bugbear, as the cheap and effective paper scenery which 
may be purchased from any dealer in theatrical supplies, 
will answer every purpose. At the same time I would 
strongly urge that in private theatricals such plays be 
selected as require only interior scenes. In a parlor or 
schoolroom an exterior scene looks odd to say the least, as 
the proximity of the actors to the flat is certain to destroy 
the illusion. 

Plays should be selected having fairly good parts for all. 
Do not attempt anything too elaborate. The heavy stand- 
ard plays are never suitable for amateurs, and in private 
theatricals they would be simply ridiculous. Leave them 
severely alone. 

Amateurs succeed best in plays of the modern society 
order, and for private entertainments a short, snappy com- 
edy like "Early Vows," or " The Wedding Trip," followed 
by a breezy farce or comedietta will give much better 
satisfaction than a long play requiring a large cast, and 
running from two to three hours. One of the best private 
entertainments I ever saw opened with a farce, "On 
Guard," followed by a comedietta, "A Breezy Call," and 
concluded with the roaring farce, "Hans Von Smash." 
These three little plays contained good parts for all; they 
were easily put on and the entertainment was all that could 
be desired. 

Plays requiring a large cast of characters are not 
recommended for private performances owing to the diffi- 
culty in casting the characters, and for other reasons, 
which will be considered in an ensuing chapter. 



PRIVATE THEATRICALS. 



13 



While it is true that fine acting is not expected in 
entertainments of this class, yet all who take part should 
strive to do their best. All must work in harmony for the 
common good, and be willing to make some sacrifices in 
order that success may be attained. 

In the following pages I shall consider that the reader 
is a tyro, unlearned in dramatic lore, unskilled in stage 
craft, and unfamiliar with theatrical terms. Therefore, 
everything will be fully described in the simplest language 
possible, to the end that the beginner may find the work a 
practical and helpful guide. 



CHAPTER II. 

THE COMPANY. 

AT the very beginning the organizer of a private 
theatrical company often meets with a most annoying 
obstacle. He finds in many cases that society is cut up 
into numerous little cliques or sets, between which there 
is a polite but unrelenting feud. Miss A will not play if 
that "dreadful Miss B" takes part; Miss B would "sooner 
die" than be seen in the cast with Miss C; and Miss C will 
not play with either of the others. All this, of course, is 
very troublesome, and no little diplomacy is required to 
harmonize the warring elements. Patience and perse- 
verance will accomplish wonders, however, and as a large 
company is not required it can usually be formed by 
exercising due care. 

Endeavor to get people who will take an interest in 
their work. Your stage manager cannot impose fines or 
other penalties as his professional brother would do, con- 
sequently his goodnature will be put to the test if your 



14 



PRIVATE THEATRICALS. 



company includes any who act in a careless, perfunctory 
manner. If you agree to act at all, resolve to do your 
best as a matter of duty. 

Let us now consider how and what style of people are 
required to form an average company. 

First, there is the leading man, your best actor, who has 
the choice of parts and the ability to play a variety of 
characters. The "leading man" must be versatile to a 
degree, for he will be required to appear in many widely 
different roles, comic, heroic, heavy, etc., and must needs 
be acceptable in all. It may be impossible to find a man 
to fill the bill entirely, but your leading man must needs 
excel in some particular, and you should select plays which 
will give him the most opportunities for effective work. 

The light comedian will be the Lester Wallack of your 
company, shining brilliantly in plays like "A Morning 
Call," "Cool as a Cucumber," "Delicate Ground," or -'A 
Breezy Call." Often the light comedian will be your 
best actor — the leading man in fact — and in many plays 
success will depend chiefly upon his efforts. 

The low comedian is the "fellow of infinite jest," — the 
champion "funny man" of your company — who must 
possess a natural fund of humor, and be capable of 
displaying it in many ways. The low comedian usually 
does "character" parts, Irish, German, Negro and the like. 
Comediettas as a rule give him but few opportunities. 
His forte is farce, and he will revel in plays like "The 
Limerick Boy," "Turn Him Out," "Just my Luck," "On 
Guard," "Hans von Smash," etc. With a good low 
comedian the average farce is sure to succeed. 

The heavy man is the "wicked villain" of the play, and 
in private theatricals is usually conspicuous by his absence. 
He is occasionally seen in a comedy like "Home" for 
instance, but never in farce or comedietta. Still, if you 



PRIVATE THEATRICALS, 



15 



must have plays with a "villain," be sure to engage a 
talented actor for this undesirable work, one capable of 
doing heavy "character" parts. 

You certainly will need some one to play old men, and it 
is needless to say that a good actor is required for such 
characters. It is necessary that the actor who does "old 
men" should look as well as act the character; and such parts 
are always highly effective if well done. If a young man 
cannot be found to do these parts naturally, it will be well 
to secure a middle-aged or elderly man whom Dame Nature 
has already "made up" for such roles. 

When we speak of a juvenile man^ in a theatrical way, 
we refer to the young man who plays the lover, and who 
undergoes more or less tribulation because of the rivalry 
of the "heavy man." Sometimes he has the leading role 
as in "The Spy of Gettysburg," "The Woven Web," etc., 
but usually his part is of secondary importance. A good 
looking, manly young fellow is required for such characters 
and a good voice and gentlemanly bearing are more 
important than marked histrionic ability. 

The walking gentleman is always cast for responsible 
parts. Frequently he has second comedy or juvenile roles, 
and must necessarily be a good, reliable actor. 

Persons who do utility roles have the shortest speaking 
parts, usually servants, etc. It is best to give such 
characters to recruits who have never acted before. In 
this way they gain experience, and, moreover, you are able 
to judge of their fitness for more ambitious parts. 

The leading lady must, of course, be the best actress in 
your company, and her special line of acting should be 
borne in mind when selecting your plays. If she is strong 
in comedy she must have parts like Pauline in "Delicate 
Ground," Cora in "A Breezy Call," Cleopatra in "The 
Wedding Trip," etc. If she is a soubrette of the Lotta 



i6 



PRIVATE THEATRICALS. 



type there are endless farces in which she can frolic to her 
heart's content. If her forte is pathos you should select a 
little one act or two act drama for her benefit — one having 
plenty of pathetic business. 

The soubrette is the merry-maker of your company. 
Always give soubrette roles to a girl who is naturally lively 
and full of fun. Such characteristics cannot well be 
assumed, therefore to be effective they must be natural and 
spontaneous. If the lady sings and dances so much the 
better, as she will have plenty of opportunities to introduce 
these specialties. 

Walking ladies and juvenile ladies have about the same 
range of characters — all responsible, and some of them very 
important. 

You may find a young lady who will be willing to do old 
women, but the odds are heavy that you will not. To be 
on the safe side it is best to engage an elderly lady for 
such roles. There is a greater division of parts among 
professionals, but the foregoing are all, and possibly more 
than you will require. 

Having secured the necessary talent, you should choose 
a manager and invest him at once with unquestioned 
authority. You should also find a good-natured and at- 
tentive gentleman who will act as prompter and look after 
the necessary properties. In this connection it is well to 
observe that each player should look after his own personal 
properties, such as letters, money, whips, packages, 
weapons, etc , leaving your volunteer property man free to 
attend to the "stage props" which will keep him busy, 
including as it does thunder, lightning, rain, red fire, etc., 
besides managing the curtain. 

Now that the company is formed let me conjure one 
and all to enter into the spirit of the work with a fixed 
determination to do your very best in whatever parts you 



PRIVATE THEATRICALS. 



17 



may be cast. Remember that you are acting solely for 
recreation, and therefore resolve at the outset to work 
together for the common good. If you are cast for a small 
"utility" part, instead of the "lead," accept it cheerfully 
and play it to the best of your ability. Perhaps you will 
make a greater hit than the leading man — something not 
at all unusual —and at all events duty requires you to be 
perfect in your lines and business, attentive at rehearsals, 
and thoroughly in earnest in all that you do. 



CHAPTER III. 

OFFICERS. 

IN private theatricals no formal organization is necessary. 
It would be worse than useless to adopt a complicated 
set of rules which nobody would obey, and which would 
result only in confusion. The best plan is to elect a 
-manager who shall have entire control of everything, and 
to whom unlimited authority shall be given. 

In selecting thjs manager care must be taken to choose 
the right man. First of all he must be a good actor, as he 
will be required to instruct the others in every detail, in 
voice, gesture, business and by-play. He must know how 
to set the stage, how to dress the parts, how to make up 
the various characters, and in fact, he should understand, 
so far as possible, everything connected with the business. 
You may have no such "Admirable Crichton" in your 
company, but you will doubtless have one man of more or 
less experience who will accept the position. 

The manager must be possessed of much tact or he will 
speedily find everything at sixes and sevens. Unlike his 
professional brother he cannot use force, but must depend 

3 



18 PRIVATE THEATRICALS. 

entirely upon moral suasion for success. Therefore he 
must understand human nature well enough to know how 
to deal with the various members of the company. He 
must be quick and decisive with some, but slow and easy 
with others; he must scold those deserving the spur of 
censure, and commend those requiring the encouragement 
of judicious praise; he must be alert, quick-witted, never 
own up beaten, and be prepared for difficulties before they 
arise. 

The manager should thoroughly study the play before 
casting the characters, so that he may know exactly what 
is required of each. He should consider every entrance, 
exit, bit of by-play, etc., so that he may have every point 
at his tongue's end when rehearsals begin. 

He must select his plays with a clear understanding of 
the capabilities of the company, striving to secure so far 
as possible, plays having good parts for all. This subject 
is one of vital importance, and will be fully discussed in a 
subsequent chapter. 

At the very outset the manager should insist that 
during rehearsals his directions must be obeyed without 
question, and furthermore, that no one else shall presume 
to give instructions. If he fails to do this he will find 
everybody trying to "run things," and will doubtless come 
to the conclusion that life is not worth living. The man- 
ager will find as a rule that the labor of casting a play is 
the most arduous of any that he is called upon to perform, 
If a play could be made up entirely of heroes and heroines, 
as Artemas Ward's famous regiment was of brigadier 
generals, there would be no trouble. Unfortunately this 
is impossible. Some plays must contain "old men and old 
women," with even a "detested villain" now and then, and 
it is often a matter of considerable difficulty to induce 
people to play such parts. This arises from the fact that 



PRIVATE THEATRICALS. 



J 9 



amateurs are prone to forget that every character is of 
such importance that the good or bad acting even of a 
servant may easily make or mar a scene. Let the manager 
explain this matter clearly so that all may understand the 
relative importance of the characters, and there will be but 
little trouble in making the cast. 

After the parts are assigned, the manager should impress 
one and all with these highly important particulars : First, 
commit the parts to memory as speedily as possible ; sec- 
ond, be prompt at rehearsals ; third, enter into the spirit of 
the play. Until the parts are learned no effective rehears- 
ing can be done, for it is self-evident that the business of 
the play cannot be introduced until the performers are easy 
in their lines. Habitual lateness at rehearsal is a serious 
fault, and should not be tolerated. It retards the work, 
causes much annoyance, and as it arises chiefly through 
carelessness it should not be excused in any one. Lack of 
interest often ruins what otherwise would be a first-class 
performance, and this is something that the manager should 
especially guard against. This failure to enter into the 
spirit of the play is usually seen in the smaller parts, as the 
leading performers generally have enough pride to try to 
do their best. 

Let the manager keep his temper, be patient and per- 
severing, and all will come out right in time. 

Next to the manager, the prompter is the most important 
person in a private theatrical company. His duties are 
many, and only a cool, level-headed man should undertake 
them. 

The prompter is the invisible star of the company, on 
whom depends much of the success of the performance. 
It is his friendly voice that encourages the timid, helps the 
forgetful out of the Slough of Despond, and prevents the 
breaks from misplaced or neglected properties. 



20 



PRIVATE THEATRICALS. 



When engaging a prompter, always select a careful and 
reliable non-actor who will be present at rehearsals, who 
will look after all the properties, and see that the stage is 
properly set. 

He should become thoroughly familiar with the play 
and also with the peculiarities of each member of the com- 
pany. He will learn by experience how to prompt each 
one. Some performers will require only a single word ; 
others will need an entire sentence, while some will catch 
the words best by hearing the sense of the speeches given 
them. Let the prompter study these points which will aid 
him materially in his work. 

The prompter should see that the properties — that is the 
various articles required in the play — are all at hand ready 
for immediate use. He should establish a cast iron rule 
that nobody shall interfere with these properties — other- 
wise at the last moment some important article will " turn 
up missing" and confusion will result. 

The prompter should hold the members of the company 
responsible for all personal properties, such as letters, 
papers, money, jewels, etc., and insist that they provide 
themselves with these necessary articles. He will have his 
hands full looking after the stage properties, attending to 
the outside noises — ringing bells, firing guns, shouting, etc. 
— to say nothing of following the play, prompting the for- 
getful, seeing that the stage is properly set and attending 
to the curtain. Therefore, do not impose on his good 
nature by expecting him to look after the personal 
properties. 

He should prepare the music cues, giving the style of 
music required, and the number of bars, together with the 
accompanying words or business. 

As will be seen by the foregoing the prompter will have 
few idle moments during a performance ; and if he exhibits 



PRIVATE THEATRICALS. 



21 



a spice of temper now and then, no blame can be attached 
to him. 

Should an admission fee be charged, you will need a 
treasurer to look after the funds, and to settle whatever 
bills may be incurred ; otherwise the manager and prompter 
will be all that you will require in the way of officials. 

Let me conjure every member of the company to give 
their services freely, obey orders promptly, and to do their 
• best in whatever roles they may be cast. Thus, and only 
thus can a meritorious performance be given, in which 
actors and audience will be mutually pleased. 



CHAPTER IV. 

THE STAGE. 

PRIVATE theatricals are often frowned down because 
of the imaginary trouble and expense in arranging a 
stage for the performance. 

These are idle objections, for a stage can be arranged 
with very little trouble, and the expense will not be worth 
considering. By following the instructions given in this 
chapter, any one who can drive a nail can easily arrange a 
stage suitable for the purpose. 

If the entertainment is to be given in a private house, 
the first consideration is whether the drawing room is single 
or double. If the latter, then you have a stage ready pre- 
pared, needing only wings and curtain to make it complete. 
The arch between the rooms will serve as the proscenium 
arch, and a pair of curtains may be hung on a pole on the 
inner side of the arch. A pair of small but strong cords 
should be run through the wings with the ends fastened to 
the inner rings of each curtain, by means of which they 



22 



PRIVATE THEATRICALS. 



can be drawn backward and forward by a couple of as- 
sistants. 

The wings can be arranged by tacking some dark, nar- 
row calico to a light frame of wood, which should be about 
two and a half or three feet wide, and as high as the room. 
Two pairs of these wings will be enough for a small room. 
They should be placed obliquely on the floor, and steadied 
by cleats at the bottom, and braces at the top. Care should 
be observed that the wings are placed far enough from the 
side walls to allow the performers to pass freely behind 
them. 

If the room has two doors, one must be used as a street 
entrance, the other as an interior entrance. If it has but 
one door, then a " flat " or back scene must be prepared 
and placed far enough from the rear wall to allow a passage 
way for the performers. This back scene may be made of 
calico the same as the wings, or it may be covered with wall 
paper and have an opening in the center draped with cur- 
tains. If the play obliges you to have an exterior, then the 
best and cheapest plan is to purchase a set of paper scenery 
which can be obtained from any dealer in theatrical sup- 
plies at a trifling outlay. 

The dressing rooms in a private house, should be as 
near the stage as possible. If the entertainment is given 
in a hall or schoolroom, space must be reserved and par- 
titioned off at the side of the stage, which can be done with 
curtains. 

In lighting the stage, only footlights and side lights can 
be used, unless the room is very lofty, in which case one or 
two hanging lamps can be utilized. 

The footlights are easily arranged. Get half a dozen 
or more ordinary flat lamps and place behind each a piece of 
tin cut square at the bottom and round at the top, bent into 
a half circle — and presto, there you are ! 



PRIVATE THEATRICALS. 



23 



A couple of side lights should be hung inside the wings 
to destroy the shadows, and aid in lighting the stage. 

The following diagram will illustrate the manner in 
which the theater should be arranged : 



Door 



Flat 



Flat 



R.U.E. 



L.U.E. 



Door 




R L 

KJ \J Footlights <U ^ 



Music 




Door 



R— Right; L— Left; C— Center; R. U. E— Right Upper Entrance; 
L. U. E — Left Upper Entrance. 

The musicians should be placed at the right of the stage 
near the wall so as to obstruct the view as little as possible. 

For a more ambitious entertainment — such as would be 
given in a schoolroom or hall — I strongly recommend the 
use of the paper scenery previously mentioned. The usual 
platform will answer very well for the stage, and the curtain 
proscenium wings can be arranged as follows: 



2 4 



PRIVATE THEATRICALS. 



Let us suppose that the stage is to be, say, twelve feet 
wide; at this distance from each other fix a couple of up- 
right standards of 2x3 inch staff, which should extend 
from the floor to the ceiling; between the two a cross-piece 
should be firmly attached; to this cross-piece the curtain is 
fastened. Extending from the uprights to the side walls 
should be stationary curtains made of maroon calico which 
will make a space for wings and dressing rooms. The 
stage curtain should be made of green baize or dark green 
calico, and can be made to slide or roll. If it rolls it must 
be firmly fastened to the cross-piece, and should have a hem 
at the bottom, through which is passed a round pole. The 
curtain should rest easily on the floor when unrolled; it 
should extend about six inches beyond the uprights, and 
the pole must be about six inches longer than the curtain. 
Near the cross-piece on each upright attach a pulley, through 
which runs a small but strong rope which is fastened to the 
curtain pole as shown in the accompanying illustration. 




One end of the curtain is shown in the above. The 
rope is wound about the pole, allowing play enough so that 
when the curtain is drawn up the rope is unwound, and 
when it is lowered it is wound about the pole. A little 
practice will show how much rope is required. Along the 
ceiling, extending across the stage, from wing to wing, a 
few narrow strips of blue calico may be tacked which will 
serve as borders. The wings and lights can be arranged 
as previously described. - 

The stage settings must be gauged entirely by the size 
of the stage. It would be an obvious impossibility to at- 



PRIVATE THEATRICALS, 



25 



tempt anything elaborate on a very small stage. Anything 
beyond the most simple exterior would be ridiculous; and, 
indeed, as a rule, in private theatricals it is best to confine 
yourself to plays requiring only interior scenes. Of course 
on a stage of fair size, exterior scenes may be used, but on 
the smaller stages —particularly in drawing-rooms — nothing 
but interiors are applicable. 

Another thing: If the stage is very small it is far better 
to put on two or three short plays, requiring only short 
casts in each, than to put on one long play having a heavy 
cast, which would crowd the stage, turning the performance 
into ridicule. This subject will be fully considered in the 
chapter devoted to plays; therefore I need only say at 
present that you should "cut your garments according to 
your cloth." Make your stage setting harmonize with your 
stage, and all will go well. Remember that you cannot 
pour a quart of water into a pint cup; neither can you make 
a gorgeous exterior look natural on a ten by twelve stage. 

In the next chapter we will consider a subject which is 
but little understood by amateurs, yet one that is of vital 
importance, and not at all difficult to comprehend and 
apply — at least in a simple measure. 



CHAPTER V. 

STAGE ILLUSIONS. 

THERE are many plays that require certain stage effects 
or illusions to represent them properly. For instance 
in "Home" — that charming comedy by Robertson— the 
patter of rain is heard, the lightning flashes, and the thunder 
rolls. All this is required by the words and business of the 
play, and therefore must be introduced. 



26 



PRIVATE THEATRICALS. 



The sound of rain is produced in various ways. The 
simplest, and most effective for a small theater, is to paste a 
piece of strong brown paper — say about three feet square — 
over a light frame. When this is struck by a whip, made 
by fastening six or eight pieces of thin cord to a short 
handle, the sound closely resembles the pattering of rain- 
drops. The paper should be drawn taut and the cords 
must be knotted at the ends. 

In a large hall a "rain box" may be used. This can be 
prepared in the following manner: Procure an ordinary 
cheese box and around the inner rim fasten a number of 
two-inch slats, which should extend from the bottom to the 
top of the box. These slats should be about six inches 
apart. The box must have an axle so that it will revolve 
like a wheel. Put a quart of dried peas in the box and 
suspend it between a couple of supporters outside the first 
entrance. Have a grooved wheel on the axle connected by 
a cord belt to a wheel and crank below. When the crank 
is turned the box will revolve as rapidly as desired, and the 
rattling of the peas will make a very good imitation of a 
rainstorm. 

There are a number of methods for producing an imi- 
tation of the wind. For the loud, spiteful shriek a small 
tin whistle is commonly used, and the moaning sound can 
be produced by an old spinning-wheel. Attach a strand of 
wool to the spindle and spin it out; the effect will be strik- 
ingly realistic. If the stage is very small a fairly good imi- 
tation of wind can be had by rubbing together two pieces 
of fine sand paper. 

The sound of thunder is best imitated by shaking a 
piece of sheet-iron. This should be suspended from the 
ceiling and a handle should be' fixed to the bottom. The 
"thunder sheet" must be worked in connection with the 
lightning. For distant thunder shake softly and allow two 



PRIVATE THEATRICALS. 



2 7 



or three seconds to pass after the flash is seen. If the 
lightning is supposed to be close at hand the sheet must be 
shaken violently and simultaneously with the flash. 

Lightning is produced by blowing a small quantity of 
lycopodium powder through a tin tube over the flame of a 
candle. Finely powdered resin may also be used. But by 
far the best method is to purchase the prepared "stage 
lightning" which may be had of any dealer. This used in 
connection with a "lightning flash box" — which any dealer 
will supply for a dollar or less — will give an admirable imi- 
tation. 

It is rather troublesome to represent a snowstorm on 
the stage, ytt if necessary, it can be done in the following 
manner: Get two boards one-half inch thick by six inches 
wide and as long as the stage is wide: use them for the 
sides of a long box, the bottom of which is to be of coarse 
wire netting such as is used for coal sifters. Suspend this 
in the flies by ropes, and attach a rope to each end so that 
it can be shaken backward and forward. The box is par- 
tially filled with finely cut white paper, and when it is 
shaken the paper will sift through and fall gently to the 
stage, giving a very realistic imitation of falling snow. Cot- 
ton batting can be placed about the stage to heighten the 
effect, and coarse salt may be sprinkled on the hats and 
wraps for the same purpose. 

Colored fire is used in many scenes, especially in act 
endings, and often heightens the effect. Red is the best 
color to use, as it is free from sulphur. The fire should, al- 
ways be lighted with a fuse which is prepared in the following 
manner: Place two tablespoonfulls of gunpowder in a saucer 
and add enough water to reduce it to the consistency 
of cream. Take a yard of common candle-wicking and 
soak it in the dissolved powder. Then thoroughly dry and 
cut the wicking into two-inch pieces. Place the powder 



28 



PRIVATE THEATRICALS. 



for the light on an iron shovel, pressing it into the shape 
of a cone, in the top of which place one of the fuses. Hold 
the shovel about four feet above the floor and at the right 
moment light the projecting end of the fuse with a candle. 
Never use matches, and be sure that the powder is dry 
enough to burn readily. 

Sometimes it will be necessary to have the stage dark- 
ened for a night scene. To accomplish this have a strip of 
tin, about a foot high and long enough to project beyond 
the footlights, fitted to a frame so that it can be interposed 
between the footlights and the stage at the proper time. 
This frame could lie flat on the stage until wanted, when it 
could be quickly lifted into place. The other lights, of 
course, should be turned down. Blue glass for moonlight, 
yellow for sunlight and rose colored for sunset can be ar- 
ranged in a similar manner. 

A crash as of breaking crockery is required in many 
farces and is imitated by having a basket partly filled with 
bits of broken china which can be dropped or shaken at the 
proper time. 

In private theatricals I would not advise staging any 
play requiring a water scene; yet a fair imitation of waves 
may be produced by shaking a strip of green cloth by per- 
sons on each side of the stage. 

If a fire scene is demanded, successive changes of red 
fire may be burned, in connection with "smoke pots" which 
produce a thick but harmless white smoke. The latter can 
be purchased from any dealer at a cost of about seventy- 
five cents. 

The foregoing effects will be ample for anything re- 
quired in private theatricals. Indeed there are many of them 
which should not be attempted except on a good sized 
stage, or the result will be grotesque; and whatever you at- 
tempt in the way of these illusions should be carefully pre- 



PRIVATE THEATRICALS. 



2 9 



pared in advance, so that you will know exactly what to do 
at the right time, thus avoiding the mishaps and blunders 
which arise through putting off important work until the 
last moment. 



CHAPTER VI. 

THE PLAY. 

MUCH of the success of private theatricals depends 
upon the proper selections of plays. This question of 
choice is a serious matter and often proves a stumbling block, 
even to experienced amateurs. When an amateur actor 
suggests Othello or Hamlet for the drawing-room, or a too 
ambitious young lady sighs for Juliet, Pauline or Camille, a 
strait jacket is in order — for surely nothing could be more 
insane than such suggestions. 

No long nor heavy plays should ever be attempted. In 
the first place these plays require so many characters that 
they would crowd one another off the stage; besides it would 
be impossible to arrange the scenery, and the costumes 
would be very expensive even if only hired for the occa- 
sion; and the final, but chief objection is that these master- 
ful plays are entirely beyond the powers of any private 
theatrical company. The mighty passions that sway the 
characters, the extreme length of the parts, the intricate 
by-play and business, the perfect elocution required — these 
show conclusively that such rules cannot be considered. 

The first consideration in selecting a play for private 
theatricals is the question of scenery. It is always best to 
choose plays requiring only interior scenes — particularly if 
the stage is small. And even if an exterior scene must be 
used, it should be simple and easily arranged. A lawn or 



PRIVATE THEATRICALS. 



garden scene will present few difficulties, but in a drawing- 
room or small sized hall anything more elaborate will look 
strained and out of place. 

Modern society plays offer no difficulties whatever in 
the way of costumes. A full dress suit, walking, hunting, 
riding, and outing suits and a tennis rig are all that can be 
required in plays of this class. There are, however, many 
costume plays in which fancy dresses may be worn with 
good effect, by some of the characters. For instance in 
"The Victor Vanquished" Ilka wears a charming dress 
which can be arranged at a trifling cost; and in "A Breezy 
Call" Dick appears in a striking and unique "cowboy" cos- 
tume which, worn as it is in a New York drawing-room, is 
highly effective. Plays containing "character" parts — Irish, 
German, Negro and the like — afford ample scope for odd 
and laughable costumes; Hans in "Hans von Smash" and 
McFinnegan in "On Guard" are such characters. 

Two or three short plays are preferable to a single 
long one. Fewer people are required in each, the parts 
are easier to learn, and the work can be more evenly 
divided. Where there are several leading parts ambitious 
performers can all be satisfied— a fact which the manager 
will duly appreciate. 

One special reason for selecting short plays in private 
theatricals is that more diversion is created, and the 
audience, in consequence, is better pleased. A bright, 
snappy little comedietta and a couple of laughable farces 
can be easily arranged, and will please an audience far 
more than a long play could do, hampered as it would be 
by a large cast and a small stage. 

Bear in mind that in entertainments of this class there 
is but little if any of the illusion commonly felt in a regular 
theater. The spectators are so near the stage, the per- 
formers are so well known that imagination has very little 



PRIVATE THEATRICALS. 



31 



chance to assert itself. Very little make up is possible in 
a drawing room, therefore almost everybody will recognize 
Smith and Brown and Jones and Robinson as soon as they 
appear. Character parts it is true, can be disguised more 
or less thoroughly, but as a rule the face must be lined 
very lightly and the shading must be applied with unusual 
care or the whole thing becomes a meaningless daub. 
Therefore it is best to attempt but little in the way of 
"realism" but to select instead plays in which everyday 
people have prominent parts. 

In selecting a play it is wise to bear in mind the 
qualifications of your best people. Thus in the farce of 
"A Wonderful Letter" you must have a good low comedian 
for Skipper, as that is the character of the play. Get a 
good actor for Skipper and you need not worry about the 
others. Still, what are known as "one part" plays, should 
be used sparingly, or a certain amount of jealousy will be 
aroused. 

And now we come to casting the characters. 
Ay, there's the rub! 

The manager must have his wits about him, and 
moreover should lay in an extra amount of patience, for 
he will certainly need it. He will find at the outset that 
many aspire to parts for which they are totally unfitted. 
The stout little man, who would be a success in broad 
comedy, will insist on doing heroics; the elderly man 
wants to play the juvenile lover; this merry sprite thinks 
she can succeed best in an emotional role, and that tall 
girl is positive she can do nothing but soubrettes. Those 
who have had no experience whatever will frequently 
demand the best parts, and the talented people, whom the 
manager wants most, may refuse to act at all. It is here 
that the diplomatic skill of the manager must come into 
play. He must use discretion, urging those who are 



32 



PRIVATE THEATRICALS. 



backward, restraining those who are too forward, and, 
while listening carefully to all that may be said, he should 
quietly, though firmly, arrange the cast as his judgment 
dictates. 

He should endeavor to fit people, so far as possible, 
with roles which they can do naturally. Let him observe 
the characteristics of those who take part; let him carefully 
note their peculiarities of speech and action, he can then 
cast them for parts to which they are suited. To illustrate 
let us suppose that the popular farce "Deception" has been 
selected. The part of John Early requires a cool, easy- 
going, quiet young gentleman, yet one who is capable of 
exhibiting considerable feeling; Mister John, on the con- 
trary, must be loud, bluff, noisy and self-important. He 
must be energetic, self-assertive and dogmatic. Mr. 
Merriman calls for a fussy, quick-spoken, forgetful but 
good hearted man, and Dennis must be a brisk, pugnacious 
Irish character, with a rich and mellow brogue. Carrie 
should be played by one of those quiet, lovable girls, while 
Mrs. Merriman should be very energetic. 

The manager, then, should study every play with the 
utmost care, so that he may know exactly what each 
character is like. He will then be able to cast the char- 
acters intelligently, fitting the members of the company 
with suitable roles. 

People who have never acted before should be given 
minor parts. They may develop more ability than some 
of the "old stagers," if so their services are sure to be in 
demand; on the other hand these novices may prove to be 
"sticks" of the worst sort, therefore it is well to take as 
little risk as possible. 

One thing to impress upon those having minor parts is 
that it is just as important to play these parts carefully as 
it is to do the leading roles well. If a servant fails to come 



PRIVATE THEATRICALS. 



33 



on at the right moment even though hi? part is but a single 
line, he may ruin an entire scene. Therefore the impor- 
tance of these smaller parts should never be overlooked. 
It should be remembered, too, that it is much better to 
play a small part well than a leading part badly. I recall 
a performance of "Early Vows" in which the hit of the 
play was made by the actor who did Sampson. The part is 
very short, yet the gentleman who played it was such a 
careful, conscientious actor, he entered so thoroughly into 
the spirit of the part, that he made a positive, unequivocal 
hit. The player who has a minor character can take the 
necessary time to elaborate it and bring out its strong 
points, something which is frequently impossible with those 
playing the more prominent parts. 

Let the manager take plenty of time to decide on the 
cast, and when it is completed he should allow no changes 
whatever unless he is clearly satisfied that such changes 
will improve the play. If he discovers, as he probably will, 
that, some one is dissatisfied with the part assigned, and 
refuses to take any interest in it, the sooner that that 
person is dropped the better. An ambitious "stick" is 
always better than an ill-tempered, grumbling "genius;" 
the former does his best and injures nobody, while the 
latter does his worst and creates disturbance everywhere. 

In another chapter I give a detailed description of 
plays best suited to private theatricals; and I would 
suggest that the chapter be consulted whenever an enter- 
tainment of this sort is to be given, as by so doing many 
mistakes will be avoided and some failures averted. 

In closing this chapter I would remind the manager 
that all short plays are not suitable for private theatricals. 
Some are mere wastes of dreary verbiage, in which the 
characters talk, talk, talk, but do nothing. These so-called 
"plays" are really dialogues, and very wearisome to most 
3 



34 



PRIVATE THEATRICALS. 



people, who want something more than mere gabble. On 
the other hand some plays are so full of action— the 
business is so rapid and complicated — that amateurs cannot 
help getting tangled up. Some plays strike a happy 
mean between the two extremes, and these are the ones to 
be selected for private theatricals. 



f~\ You have settled all the troublesome preliminaries; you 
have got your company, your manager, prompter and your 
plays; the characters are cast, and it looks like plain sailing 
now. 

Possibly. 

But there are breakers ahead, for you have yet to hold 
your first rehearsal; and you may expect that it will be some- 
what "off." 

Always rehearse when possible in the place where the 
entertainment is to be given. Thus you will get used to 
positions and feel at home when the momentous evening 
arrives. 

If the rehearsals are held at night see that the stage is 
warmed and well lighted. During the first rehearsals there 
will be constant references to the parts, and the stage should 
be light enough to read the lines clearly. 

Begin the rehearsals promptly at the hour appointed, even 
though one or two are late. This is the best method for 
shaming the truants, and besides it will prevent them from 
becoming so conceited as to imagine that you are compelled 



CHAHTER VII. 



REHEARSALS. 




ND now you are ready for business. 



PRIVATE THEATRICALS. 



35 



to dance attendance on them. I would remark in passing 
that habitual lateness cannot be excused; it is a sign of ill 
breeding — a mark of boorish selfishness, of which no real 
lady or gentleman will be guilty. 

At the first rehearsal little can be done beyond getting 
the crosses and positions fixed in the memory. Indeed but 
little if any effective work can be done until the parts are 
learned. The business of the part is forgotten when one is 
striving to remember the lines, and as this "business" is the 
most important factor in the success of a play it must be 
mastered anyhow. 

It is a great mistake for amateurs to imagine that they 
can learn their parts at rehearsals; and they tempt fate who 
depend on the prompter to carry them along. The lines 
must be thoroughly learned, and then the rehearsals can 
be devoted to mastering the details of business, by-play and 
vocal expression. 

When parts are learned from printed plays — and, in pri- 
vate theatricals this is nearly always the case — there should 
be a copy of the play for each performer. The first step in 
learning a part is to read the entire play through from be- 
ginning to end. Repeat this several times until you are en- 
tirely familiar with the story. In this way you will get a 
good idea of the character you are to portray, and its rela- 
tion to the other characters Then make "Thoroughness" 
your motto and set to work to learn your part, word by 
word and line by line. Study the "cues" at the same time so 
that you will know the words preceding your speeches — a 
matter of the utmost importance. When you have mastered 
one speech take up the next. Then repeat the first, next 
the first and second, then the first, second and third. Con- 
tinue in this way, until you have learned the entire part. 
This may appear to be a slow way to study, but it is sure 
and thorough — and thoroughness is what you want. 



36 



PRIVATE THEATRICALS. 



During rehearsals the instructions of the manager must 
be followed without a word. Give him credit for knowing 
what he is about and do not attempt to "run things" your- 
self. If you think that a piece of business can be improved 
there is no harm in privately calling the manager's attention 
thereto; but this should never be done during rehearsals, as 
it is an evidence of poor taste to say the least. 

The manager should pay especial attention to the dress- 
ing of the stage. By this I mean that he should see that the 
characters are in the right place at the right time. It looks 
very clumsy to see a number of persons lined up one behind 
another; and it appears worse yet when an actor, who is re- 
quired to speak in an "aside" to another, rushes across the 
stage for that purpose. Blunders of this sort are to be ex- 
pected, and it is the duty of the manager to see that they 
are not repeated. 

Every play, and indeed every act, should close with a 
picture, formed by the characters. This grouping needs 
careful study to be effective, and I regret to say that too 
little attention is given it. The principal characters should 
be in the center of the stage with the others at their right 
and left but nearer the footlights. They should not get too 
near the footlights however, or the picture may be spoiled 
and somebody's head injured by the falling curtain. 

The following imperative rule should be made — and 
obeyed: No outsider shall be present at rehearsals. Visitors 
may be kindly disposed, but their presence is sure to disturb 
the rehearsal; therefore they should never be tolerated. Be 
positive about this. 

Silence should be maintained by those who are not on 
during a scene. Laughter, gossip or "skylarking" seriously 
interferes with the work of those on the stage, and anything 
of the kind should be strictly prohibited. 

The question of costumes should be considered at an 



PRIVATE THEATRICALS. 



37 



early date, and, if possible, the final rehearsal should be a 
"dress rehearsal" with every detail carried out exactly as if 
playing before an audience. 

The costumes, especially those worn by the ladies, 
should be in harmony with each other. Two shades of the 
same color must not be worn, or each will kill the other. 
The style too, must correspond with the age and condition of 
the character assumed. It would not do for a maid servant 
to wear silk or diamonds; and in playing an "old woman" 
it would look ridiculous to see the character rigged out in 
all the furbelows of a girl. Time and place must likewise 
be considered. Do not appear in an exterior scene without 
hat, wrap or gloves, and dress according to the season of 
the year in which the action is supposed to take place. In 
regard to style if you follow the usages of good society you 
can make no mistakes. 

The manager must look after all these details; but each 
member of the company should cordially assist him, and 
thereby lighten his burdens as much as possible — for he 
will have enough to worry him as any one knows who has 
ever filled this hard and thankless position. 

The prompter should be present at each rehearsal. He 
should interleave his copy of the play with blank pages 
in which to enter his manifold duties — the actors' calls, the 
noises to be made, the properties in his charge, etc. — for it 
will never do to trust such things to memory. 

Appropriate music must be arranged, and the musicians 
should be present at the closing rehearsals so that they can 
get the music cues — telling them what and when to play. 

The number of rehearsals required will depend upon the 
pxays and the aptitude of those taking part. After the parts 
are learned a comedietta will require only three or four re- 
hearsals. A farce may call for more, particularly if full of 
rapid business. An easy drama— like "An Only Daughter" 



38 



PRIVATE THEATRICALS. 



for instance — rarely needs more than five or six rehearsals, 
while a lively, rattling comedy like "Early Vows" may re- 
quire a dozen in order to make it "go" briskly. The brisker 
the action is in a play the greater will be the time required 
to perfect it. Still, it is well to avoid over-elaboration, lest 
you tire everybody out and make them throw up their parts 
through sheer weariness. 



CHAPTER VIII. 

THE ART OF ACTING. 

THE histrionic art requires a vast amount of patient, 
careful study, if the actor wins even a fair degree of 
success. Weeks, months and in some cases even years of 
patient toil are given to fully elaborate a character, and I 
have heard even the peerless Booth remark that he never 
expected to reach the ideal to which he aspired. 

Amateurs, who devote only an occasional leisure hour 
to this exacting art, cannot expect to grasp more than a few 
outlines — a mere sketch as it were. It is necessary then 
that we consider the matter broadly, and in the plainest way 
possible. 

When you are cast for a part, your first duty is to study 
it carefully, so that you may form a clear conception of 
what the character is like. Fix this conception of the char- 
acter in your mind and strive to feel that, for the time, you 
are in reality the person represented. If you have an Irish, 
Dutch, or other character part, remember that the dialect 
must be retained at all times; if you are doing a "dude" 
recollect that you must keep up the stupid, vacant look, the 
idiotic drawl, the stiff, awkward movements and other char- 
acteristics of this libel on mankind; if you are playing an 



PRIVATE THEATRICALS. 39 

elderiy role, bear in mind that the slow, uncertain walk, the 
bent form, the weak voice are in keeping with the part, and 
must never be dropped, even for a moment, or the illusion 
will be destroyed. 

But there is a limit to realism. The actor who, having 
the part of Eccles — the old drunkard in "Caste" — proceeded 
to get very "mellow," certainly overdid the "realistic" busi- 
ness. In this connection I would remind the amateur that 
drunken scenes are by no means easy to portray. It will be 
observed that intoxication varies in degree from mere tipsi- 
ness to maudlin incapacity. Drink rarely affects two men 
alike; one will be red-faced, loud-voiced and quarrelsome; 
another will be very good natured and exceedingly confi- 
dential; one wants to sing, another orate, and so on, varying 
in their words according to their various natures. In play- 
ing such a part you must judge of the character by the 
lines and business indicated. 

Two of the most troublesome things for amateurs to 
master are entrances and exits. You should time your en- 
trances so as to come upon the scene exactly at the right 
moment. If you come too soon you may spoil the scene 
then in progress, and if you arrive too late you destroy the 
effect by causing a "stage wait." It sometimes happens 
that you are required to be on the stage for a considerable 
period before speaking; in such an event be careful to keep 
up whatever by-play that may be necessary— listening, sit- 
ting at a table with a book or paper, carrying on an ap- 
parent conversation with another, or what not. 

An exit requires nice handling to be effective. If you 
exit on a speech of your own, be careful to time your words 
so well that you are at the door or wings ready to step out 
as the last word is spoken. If you exit with another, keep 
up an apparent conversation while so doing. It is very 
awkward for an actor to finish a speech at the center of the 



4° 



PRIVATE THEATRICALS. 



stage and then go marching off without a word. In a 
comic scene this may be done with laughable effect, but it 
should always be avoided at other times. If your exit is 
made when other characters are speaking, you should stroll 
off quietly without attracting attention — unless trying to 
escape, when the appearance of fear and caution should be 
kept up until the last. The foregoing hints are of the ut- 
most importance, and they should be carefully studied and 
applied. 

Do not become possessed of the idea that you must be 
"doing something" all the time that you are before the 
footlights. In other words, do not foolishly, and I may add 
selfishly, try to call undue attention to yourself when you 
have nothing to do. Amateurs are often tempted to this 
through self-consciousness. They imagine that all eyes are 
upon them — they become restive, nervous, fidgety, and in 
consequence lose all repose. This feeling rray be nat- 
ural, but it is unfounded. People in front are interested 
only in the immediate business of the scene, and if for the 
time you have nothing to do — why, do it. Keep still, no 
one is watching you, and let the others have the attention 
which belongs to them. 

Do not wander about the stage in a purposeless manner. 
Avoid sitting and rising unless the business of the part re- 
quires it. Let your hands and feet take care of themselves. 
Study "repose in action," without which you cannot give 
an easy, graceful performance. Try to forget that you are 
acting a part and strive to be the character you represent. 

Gestures, when made at all, must be with a full, free- 
arm movement. A constrained, half-arm gesture is worse 
than none at all, for it reminds one of a clumsy school boy's 
declamation. Let your gestures be free and bold, using 
them only when the natural strength of the scene de- 
mands it. 



PRIVATE THEATRICALS. 



41 



In regard to action, you can do no better than to follow 
Hamlet's advice: "Suit the word to the action." It is well 
to remember that actions do speak louder than words. You 
can convey more meaning by a threatening gesture, a con- 
temptuous look, a shrug of the shoulders or a repellant 
motion, than you could by words. And it is this thorough 
knowledge and use of action that gives grace and finish to 
a performance. Therefore study the business of your part 
as closely as you study the lines, for it is just as important. 

Position on the stage should be duly considered. When 
delivering an "aside" you should, in almost every instance, 
be well "down" — that is, toward the footlights. Side 
speeches should be directed to the front, unless addressed 
to another performer, and must be only a trifle lower than 
the ordinary tone, as it is a bit of stage fiction that the 
others do not hear them. 

Between the two evils of under acting and over acting, 
it is best to choose the former. Ranting is an especial 
horror which should be studiously avoided. "Be not too 
tame either;" recollect, but endeavor to apply a degree of 
force compatible with the scene. 

Stage fights must be short, sharp and decisive. Even 
in a most exciting moment, such for instance as occurs in 
the fourth act of "Broken Fetters," when Teall overpowers 
Ludwig y the actual struggle should last but a few seconds. 
The apparent reality of this scene is caused by the rapidity 
of the action, which gives the audience no time to reflect 
on what is being done. They see the unarmed hero threat- 
ened by his would be murderer, who is armed with a dagger 
they see the quick fierce struggle; the knife drops, the 
villain is overpowered, the climax is reached and the curtain 
goes down in a roar of applause, for the scene appears nat- 
ural and life like. When a knock down blow is delivered, 
the person receiving it should fall in his tracks, so to speak, 



42 PRIVATE THEATRICALS. 

and not stagger about the stage. In brief, a stage fight 
must be very rapid, and those taking part therein, should 
rehearse the business until they are perfectly easy in it. 

It is, perhaps, superfluous to remark that love making 
on the stage is a base imitation of the genuine article. A 
lover of to-day would cut a sorry figure if he aped the man- 
ners of Romeo or Claude Melnotte. Indeed, the stage love is 
an unreal creation at all times. Yet in that very fact lies 
the charm of it all, for it is the ideal that we admire. Even 
the charming love scenes in many of our modern plays are 
not true to life, nor would we have them true to life, for if 
they were,, they would be more or less vapid. But the stage 
lover must throw his soul into the work, so that ideality 
may seem reality. Discretion is highly necessary in a love 
scene. There can be no half-way measures. Earnestness 
and sincerity are the impressions to be conveyed, therefore 
all exaggeration must be avoided. In a comic love scene 
this rule does not apply, as the purpose then is simply to 
create laughter: but even in the broadest comedy the busi- 
ness should not be overdrawn. The elder Sothern used to 
introduce a most intensely comical love scene in "Our 
American Cousin," while retaining throughout an air of the 
utmost gravity. 

The business of a scene must never be rushed. Allow 
plenty of time for whatever you have to do. Remember this. 
Amateurs are apt to rush things, and many fine plays are 
ruined thereby. Speeches should neither be hurried nor 
dragged, and especially should you avoid interrupting 
another, unless so directed. In writing a letter, take a fair 
amount of time for it, although not so much of course as 
you would if you were actually writing. If you have a 
letter to read, learn it as you learn your lines; thus you will 
be independent of the prompter, and besides you can read 
from memory better than from the paper. 



PkltfATE THEATRICALS. 43 

The management of the voice requires attention, in 
order that the proper expression maybe given. Do not 
imagine from this that elocution is acting. On the contrary 
no mere elocutionist ever made even a fair actor. But 
volume and expression must be considered, or the perform- 
ance will become wearisome through sameness. 

Speak clearly and in a tone somewhat louder and higher 
than you would use in ordinary conversation. Strive to be 
natural in all that you do, for remember that a stilted, af- 
fected voice has a most unpleasant effect, unless it be in 
certain character parts. 

Endeavor at all times to make your words appear un- 
studied, as though uttered naturally and on the spur of the 
moment. You cannot do this unless you are perfectly easy 
in your lines. If you are obliged to stop and "fish" for 
words the unity of impression will be broken, and the scene 
becomes "stagey" in the extreme. 

Learn the theatrical value of pauses. Observe that the 
voice does not necessarily fall at the period, nor rise at the 
interrogation point. Read your speeches aloud, and strive 
to get at the sense, so that the author's meaning may be 
brought out. 

Avoid too much emphasis. Nothing is more wearisome 
than to hear a person constantly emphasizing trivial words; 
besides, this course often destroys the meaning of a speech, 
leaving the audience wondering what in the world you are 
trying to get at. 

Bear in mind at all times that you are playing to the 
audience, not at it. The stage must occupy your attention. 
When you are before the footlights your own personality 
vanishes, and for the time, you are somebody else, whose 
affairs have nothing in common with people outside of the 
play. Therefore no recognition, should be given to friends 
in front; no looks, winks, nods or gags should be introduced, 



44 



PRIVATE THEATRICALS. 



for if they are the stage illusion is destroyed. While ob- 
serving this rule you must not forget to make your every 
word and action perfectly plain, so that the spectators may 
readily comprehend them. With this purpose in view, you 
will turn your back to the audience as little as possible. 
Whenever you have a piece of business to perform keep to 
the front so that your actions may be observed, for the 
audience must not only hear but see as well. 

Never omit little details, however trifling they may 
appear to you, for it is this attention to small things that 
makes up the finished whole. 



CHAPTER IX. 

MAKING UP AND DRESSING. 

IT is a matter of no little difficulty to make up a strong 
character part for private theatricals. The spectators 
are so close to the actors that the dark, heavy lines, so nec- 
essary in a large theater, would appear grotesque and un- 
meaning. Therefore when making up for the drawing- 
room stage, if it should be necessary to line the face, as in 
old age, use the gray lining pencil and shade the face 
lightly. In no case should much paint be applied, and 
wrinkles should be lightly drawn. 

The make-up outfit need not be extensive. Indeed the 
following articles will be ample for all ordinary purposes: 
A box of grease paints, containing two flesh tints and 
seven lining colors. 

Light and dark face powder. 
A box of Down's rouge. 

A box of ruddy rouge for weather beaten characters. 
Burnt cork for negro parts. 



PRIVATE THEATRICALS* 



45 



Assorted crepe hair for beards. & 
A bottle of spirit gum, for attaching beards. 
A cake of cocoa-butter, for removing paint. 
Two or three powder puffs, artists' stamps, mirror, brush 
and comb. 

Wigs can be purchased or hired for the occasion. They 
need not be worn except in character parts, or where it is 
necessary to simulate baldness. 

In playing juvenile roles, no make-up will be required 
beyond applying a small amount of rouge to the cheeks 
and powder to the face and neck. The eyebrows, if irreg- 
ular, should be lined with the black or brown lining pencil, 
and the eyelashes may also be darkened. 

In making-up for elderly roles much care must be ex- 
ercised. As before stated, only the gray lining pencil 
should be used for drawing wrinkles, and the shading needs 
careful application. If the character is an old man, like 
Sampson in "Early Vows," the wrinkles about the nose and 
mouth and across the forehead are drawn with an artist's 
stamp which has been rubbed over the gray lining pencil. 
The lips are "deadened" with the same color, and the eye- 
lids, as well as the hollows of the temples and cheeks, are 
delicately shaded with light brown. The cheeks, below the 
cheek bones, are faintly tinged with the dark or "old man's" 
rouge, and one or two teeth may be "stopped out" or cov- 
ered with black wax. False eyebrows made from gray 
crepe hair are fastened on with spirit gum; or, if the eye- 
brows are naturally heavy, they may be powdered. The 
neck should be delicately lined with gray, then the hair 
is powdered or a gray wig is put on, which completes the 
make-up. The make-up for an "old woman" is much the 
same, although little if any rouge is applied. 

"Old maids" require the conventional "corkscrew" 
ringlets, while the rouge should be self evident; while the 



4<> 



PRIVATE THEATRICALS. 



ruddy rouge should be freely applied in making-up soldiers, 
sailors, farmers and country boys. High coloring is neces- 
sary in nearly all low comedy parts, "as such roles are nec- 
essarily comic. 

German characters are usually made up fair, with red 
cheeks and blonde hair. The same general rule applies to 
all Northern races; but the Southern type, French, Spanish, 
Italian, etc., are invariably made up dark. 

In making up as a Negro, the face, neck and hands are 
first lightly rubbed with vaseline or cocoa-butter; then the 
lips are colored with carmine which is extended well beyond 
the natural lines. The prepared burnt cork is now applied 
by taking a small quantity in the hand, moistening it with 
water, and carefully rubbing it over the face, neck and 
hands. After the performance is over this prepared burnt 
cork may be wiped off with a dry cloth, after a little vaseline 
has been rubbed on. 

A "dude," like Gilder in "On Guard," should be smooth 
shaven, with light eyebrows, and no rouge whatever is used. 
The light flesh tint should be applied to the face and neck, 
unrelieved by any color, which will give to the countenance 
that dull, expressionless look, so typical of these creatures. 

The orthodox "stage villain" is made up dark, with 
black moustache and hair, the latter being usually powdered 
about the temples. 

Irishmen differ in appearance so widely that no set rule 
can be given for making them up. Some Irishmen are 
light, while others are dark; some have red hair, while 
others have black; the "bog trotter" has a brogue, the Irish 
gentleman has none. Therefore the make-up must depend 
entirely upon the type to be portrayed. 

There are very few, if any, plays suitable for private 
theatricals which will require a greater line of characters 
than those I have described. As I have said before, the 



PRIVATE THEATRICALS. 



47 



make-up in this class of entertainments must be light. 
Daubing cannot be tolerated, as the effect would be gro- 
tesque, and would make the actor look ridiculous. 

I would advise the amateur, who is cast for a character 
part, to practise making up. Let him decide what sort of 
a character he wishes to portray, and then endeavor to 
realize it. He should practice at night before a mirror, on 
each side of which a strong light is placed. At first his 
efforts will be crude, but with patience and care he will 
learn the effects of light and shade, and in time will be able 
to produce a very fair character mask. 

Ladies who play elderly roles must not expect to look 
"pretty." They must be willing to have those marks of 
age, the crow's feet and wrinkles, drawn on their faces. It 
is the height of absurdity to see a girl who looks eighteen, 
playing the part of a woman of fifty. If a young woman is 
so ridiculously vain as to refuse to be properly made up 
for an elderly role she should never accept such a part. It 
requires talent of a very high order to play an old woman 
well, and one of the most flattering comments on a young 
lady's work, is that she looked and acted the part so nat- 
urally that no one would have recognized her. 

The make-up for a drunkard must be done with care, 
lest it be overdrawn. A chronic toper like Eccles'm "Caste" 
or Grimes in "Broken Fetters" should have a "rum-blos- 
somed nose," heavy eyes (made by shading the lower eye- 
lids)tumbled hair and an unshaven,unwholesome appearance. 
But when a man is not a confirmed "bummer" the make-up 
must not be glaring. In such cases drunkenness must be 
indicated by the actions, the thick speech, unsteady gait, 
excessive gaiety or would be dignity, telling the story. 

Do not be discouraged if your first attempt at making 
up results in failure. This is to be expected at the outset, 
for the art cannot be learned without repeated trials and 



48 



PRIVATE THEATRICALS. 



persistent efforts, Remember the maxim that whatever is 
worth doing at all is worth doing well, and resolve to stick 
to your task until you have it completed. 

The question of dress is an important one in all dramatic 
entertainments, and should never be left to chance or caprice. 

The costumes must be correct as to time and place, 
and moreover, must be in harmony with each other. 

If fancy dresses are worn they must accord with the 
supposed date of the play, and also with the locality. A 
Louis Quatorze costume would be as absurd in a modern 
play as would a tennis suit in "Macbeth;" and a hunting 
suit, though entirely correct for Gus in "The Woman 
Hater," would be outlandish at a dinner party. 

This incongruity sometimes is purposely adopted for 
the effect it will create. Thus when Dick Willoughby in 
"A Breezy Call" appears in a rough, cowboy costume, he 
does so hoping that the unknown Cora will be disgusted 
with him, little dreaming that she is the very girl he hopes 
to win! 

In all modern plays, except in an instance like the one 
just mentioned, the costumes should be such as are sanc- 
tioned by the usages and customs of good society. 

Pay especial attention to time and place. Note care- 
fully the season of the year in which the action of the play 
occurs. If it be winter, then the character should be 
warmly clad, and any one entering directly from the street 
must wear an overcoat or wrap; if the action takes place in 
summer, then light and appropriate dresses must be worn. 

Oddity in dress is allowable with most low comedy or 
character parts; but a servant in a family of fashion must 
dress quietly, no matter how farcical his lines may be. 

Characters are required to dress according to their 
station in life. A maid-servant may blossom like the rose, 
when she has her "day out;" but when on duty, she must 



PRIVATE THEATRICALS. 



49 



not outshine her mistress. Amateurs are proverbially 
careless in this respect, and the effect is often ludicrous. 

Decayed gentlemen and other run-to-seed characters 
are always shabbily genteel in dress. They cling to their 
dilapidated Prince Alberts and rusty silk hats, even though 
they have neither collars nor cuffs. 

The get-up of that sweet creature, the dude, is merely 
a foolish exaggeration of the prevailing mode. In dressing 
such a role the actor may give his fancy free play, as it 
would be almost impossible to burlesque such a part. 

National costumes vary so widely that it would be im- 
possible to describe them within the limits of this article. 
Certain traits may be observed: A comic Dutchman without 
his pipe, or Irishman without his "bit av a sthick," would 
scarcely be recognized. 

Negro characters, especially in farces, may be allowed 
almost any latitude in the way of dress. The sons of Ham 
delight in loud, glaring colors, jumbled together in the 
most absurd manner, without the least idea of harmony. 

Ladies should not only wear becoming costumes, but 
their dresses must harmonize in color. A decided brunette 
would not of course, wear a blue dress, nor would a golden 
blonde appear in red. White is very appropriate for a 
young girl, but a lady playing an elderly role should invar- 
iably wear dark, or at least quiet colors. 

No two ladies should appear together in similar shades 
of any strong color, as they are never complementary and 
one would spoil the effect of the other. Contrast the colors 
as much as possible, and always blend shades so that a 
pleasant and artistic effect may be produced. 

It is well to consult beforehand in regard to dresses, so 
that mistakes may be avoided. Patient attention to these 
little details must be given to insure a finished, well-balanced 
performance. 
4 



5o 



PRIVATE THEATRICALS. 



CHAPTER X. 

THE CHOICE OF PLAYS. 

AS I have previously stated, the plays suitable for pri- 
vate theatricals are those which are short, easy, and re- 
quiring only a small cast. There should be no marked 
difficulties in the way of characters, costumes, scenery nor 
stage effects. 

On any small stage two or three short plays will give 
far more satisfaction than one long one. Of course if the 
size of the stage permits, a three, four, or five act play may 
be given; but this is rarely possible in private theatricals. 

In the following descriptions I shall aim to be instruct- 
ive more than entertaining. I have no personal prefer- 
ences whatever, and the plays which I especially recom- 
mend are those which have won unqualified success in en- 
tertainments of this sort. The number of characters are 
classified, as this is frequently the most important question; 
then follow the name of the play, the number of acts, the 
author's name, costumes, time of playing and scenery — fol- 
lowed by a brief description of the characters and plot. 

TWO CHARACTERS. 

Bumbles Courtship. — A farce, one act, modern costumes; 
time, ten minutes, one interior scene, low comedian, comic 
old woman. This is the famous courtship scene from Dick- 
ens' " Oliver Twist." It is short, easily got up, and always 
makes a hit. 

Love and Rain. — A comedietta, one act, modern costumes; 
time, twenty minutes. Drawing-room scene, comedian, 
lady comedian. An exceedingly bright little play. A 
young widow is left to her own devices for killing time on 
a rainy day; so she invites a gentleman to come in out of the 
rain. A very amusing scene follows, as she first mistakes 



PRIVATE THEATRICALS. 5 I 

him for a workman — and treats him coolly; then she thinks 
he is a robber, and is badly frightened. Finally she discov- 
ers who he really is and a very neat love scene follows, end- 
ing in an engagement. 

Twenty Minutes under an Umbrella. — A comedietta, one 
act, by A. W. Dubourg. Modern costumes; time, twenty min- 
utes, exterior scene, light comedian, lady comedian. A 
neat little play and very popular. An exterior scene is nec- 
essary, as rain is supposed to be falling throughout the play. 

Two Gentlemen in a Fix. — A farce, one act, by W. E. Suter, 
modern costumes; time, fifteen minutes, interior scene, 
comedian, old man. A roaring farce, and sure to please. 
Two gentlemen, both loaded with baggage try to get 
through a door at the same time. They collide and quar- 
rel in the most laughable way. Finally they discover that 
the younger man is the prospective son-in-law of the elder. 

Mrs. Gamp's Tea. — A farce, one act, old fashioned cos- 
tumes; time, ten minutes, interior scene, two female charac- 
ters. This is an amusing quarrel between Mrs. Gamp and 
Betsy Prig over the mysterious "Mrs Harris." Very 
laughable. 

A Fair Encounter. — A comedietta, one act, by C. M. Rae. 
Modern costumes; time, twenty-five minutes, interior scene, 
two lady comedians. A brisk little play, full of keen wit 
and bright humor. There is nothing better for two wide 
awake ladies. 

THREE CHARACTERS. 

A Silent Woman, — A farce, one act, by T. H. Lacy, mod- 
ern costumes; time, twenty -five minutes, interior scene, old 
man, comedian, lady comedian. An exceedingly amus- 
ing farce, admirably suited for a parlor performance. A 
young man who is opposed to talkative women falls in 
love with a young lady who pretends to be deaf and dumb. 



52 



PRIVATE THEATRICALS. 



After many laughable complications the ruse is dis- 
covered. 

A Breezy Call. — A comedietta, one act, by Charles Town- 
send, modern costumes; time, twenty-five minutes, parlor 
scene, old man, juvenile man, juvenile women. A highly 
successful play in which the characters are all first-class, 
each having opportunities for clever acting. Dick, who 
pretends to be a rough cowboy, and Cora, who passes her- 
self off as a spectacled specimen of " Boston culture," are 
unusually good, while Martin, the touchy old servant, is 
very laughable. Is generally conceded to be one of the 
best plays ever written for three- characters. 

Cut off with a Shilling. — A comedietta, one act, by S. 
Theyre Smith, modern costumes; time, twenty-five minutes, 
interior scene, old man, juvenile man, -lady comedian. A 
young man marries without his uncle's consent and is cut 
off with the traditional shilling. But the uncle meets his 
nephew's wife, without knowing who she is, and is so 
charmed by her wit, grace and beauty that, learning her 
identity, he changes his mind. The characters are all ex- 
cellent, and the play is always successful. 

Taming a Tiger. — A farce, one act, modern costumes; 
time twenty minutes, interior scene, fiery old man, dashing 
light comedian, utility. This is the liveliest kind of a lively 
piece, full of immensely funny situations. Never fails to 
create roars of laughter if played with the proper vim. 

A Very Pleasant Eveniug. — A farce, one act,by W.E.Suter, 
modern costumes; time, thirty minutes, interior scene, old 
man, light comedian, low comedian. One of the most 
laughable bits of nonsense ever written. Tremor, Breamer 
and Screamer have a terrible time spending "A Very Pleas- 
ant Evening" among themselves, and the spectators are 
sure to enjoy the trouble. A very easy play and highly 
effective. 



PRIVATE THEATRICALS. 



53 



FOUR CHARACTERS. 

Beautiful Forever. — A farce, one act, by F. Hay, inter- 
ior scene, modern costumes; time, thirty minutes, comedian, 
low comedian, juvenile lady, soubrette. A laughable take- 
off on the folly of investing money in patent medicines. 
An easy play and always successful. 

Betsy Baker. — A farce, one act, by J. M. Morton, inter- 
ior scene, modern costumes; time, forty-five minutes, juven- 
ile man, low comedian, lady comedian, soubrette. A 
screaming farce and one of the best ever written. Mrs, 
Mouser complains that her husband is "too attentive," 
whereupon his friend Mr. Crummy hires Betsy Baker to 
fascinate Mr. Mouser. The play shows how well she suc- 
ceeds. 

Cabman No. gj. — A farce, one act, by T. J. Williams, 
interior scene, modern costumes; time, thirty-five minutes, 
low comedian, eccentric comedian, juvenile lady, soubrette. 
One of the most comical plays published. The jolly cab- 
man, the insanely-jealous husband, his pretty wife and the 
lively maid servant all have excellent parts. 

Only a Half- Penny. — A farce, one act, by John Oxen- 
ford, interior scene, modern costumes; time, thirty-five min- 
utes, old man, low comedian, lady comedian, soubrette. 
A popular farce having an excellent part for the low come- 
dian. This is an old favorite, and is very easy to produce. 
With a good low comedian it always " goes. " 

Sweethearts. — A comedy, two acts, by W. S. Gilbert, 
one exterior scene, modern costumes; time, forty-five min- 
utes, comedian, old man, lady comedian, walking lady. A 
beautiful play, and a real gem of its class. Gives excellent 
opportunities for good acting and presents few difficulties. 
A simple exterior scene is required, which serves for both 
acts. 



54 



PRIVATE THEATRICALS. 



A Comical Countess. — A farce, one act, by Wm. Brough, 
interior scene, fancy costumes; time, forty minutes,comedian, 
light comedian, utility, lady comedian. A laughable and 
highly successful piece, specially desirable where fancy cos- 
tumes can be had. 

A Game of Cards. — A comedietta, one act, by L. J. Hol- 
lenius. Interior scene, modern costumes; time, forty min- 
utes. Old man, eccentric comedian, juvenile man, juvenile 
lady. An exceedingly bright, well-written play, of un- 
bounded popularity. Cannot fail to please. 

A Model Pair. — A comedietta, one act, by J. Abarbanall. 
Interior scene, modern costumes; time, thirty minutes. Two 
juvenile men, juvenile lady, soubrette. A brisk play con- 
taining a number of farcical situations, creating unalloyed 
merriment, especially when the "model" pair indulge in the 
breeziest kind of a row. 

My Mysterious Rival.— A comedietta, one act, by J. P. 
Simpson. Interior scene, modern costumes; time, thirty 
minutes. Eccentric comedian, juvenile man, juvenile lady, 
soubrette. Highly effective, and a great favorite in draw- 
ing room entertainments. Fine part for eccentric comedian. 

FIVE CHARACTERS. 

The Woman Hater. — A farce, one act, adapted from the 
German by H. B. S.onneborn. Modern costumes; time, 
thirty-five minutes. Interior scene. Comedian, eccentric 
comedian, juvenile woman. A simple, but effective play, 
full of quaint humor and odd situations. Costumes may be 
fancy if desired. 

The Assessor. — A farce, one act, by T. S. Denison. Mod- 
ern costumes; time, ten minutes. Interior scene, three 
male, two female characters — all comic. A laughable inter- 
lude, showing the trouble a man gets into through trying to 
shirk his taxes. Sure to please. 



PRIVATE THEATRICALS. 



55 



A Desperate Situation. — A farce, one act, by F. C. Bur- 
nand. Modern costumes; time, twenty-five minutes. In- 
terior scene, two low comedians, two lady comedians, sou- 
brette. Immensely funny. Popple — who is very hard up — 
pawns a costly bonnet (which was delivered to him by 
mistake) to raise the necessary funds for a holiday excursion. 
The lady who owns the bonnet traces it to him; she in turn 
is followed by her jealous husband, and a "desperate situ- 
ation" is the result. Everything is fully straightened out 
much to the delight of the timid Popple, and to the amuse- 
ment of the audience. 

A Wonderful Letter. — A farce, one act, by Charles 
Townsend. Modern costumes; time, twenty-five minutes. 
Interior scene, two low comedians, two walking gentlemen, 
lady comedian. A very popular farce. Skipper receives a 
mysterious letter which no two people read alike. Very 
funny complications follow, until finally a huge practical 
joke is revealed. Skipper is immensely comical, and will 
keep an audience roaring. 

Fm not Myself at All. — A farce one act, by C. A. Maltby. 
Modern costumes (one may be military); time, twenty-five 
minutes. Interior scene, old man, juvenile man, Irish come- 
dian, juvenile lady, soubrette. This farce is a genuine 
"Irish stew," in which everything is gloriously jumbled up. 

Uncle Dick's Mistake. — A farce, one act, by E. C. 
Whalen. Modern costumes; time, twenty minutes. Inte- 
rior scene, three male, two female characters— all comic. 
An amusing farce, easily presented. 

A Bad Joo.—A farce, one act, by H. Elliott McBride. 
Modern costumes; time, thirty minutes. Interior scene, a 
comic "tragedian," two comedians, two lady comedians. 
An exceedingly laughable farce. 

Model of a Wife. — A farce, one act, by Alfred Wigan. 
Modern costumes; time, twenty-five minutes. Interior 



PRIVATE THEATRICALS. 



scene, character comedian (Frenchman), low comedian, 
juvenile character, two lady comedians. A successful and 
highly amusing farce when well rendered. A jealous hus- 
band, a comical clerk and a love smitten Frenchman make 
the fun. 

That Rascal Pat. — A farce, one act, by J. H. Grover. 
Modern costumes; time, thirty minutes. Interior scene, 
old man, juvenile man, Irish comedian, juvenile lady, sou- 
brette. A standard play for a good Irish character. Pat 
gets everybody — including himself — into hot water, through 
trying to serve two masters at once. 

The Wedding Trip. — A comedy, two acts, by H. B. Son- 
neborn. Modern costumes; time, one hour. Interior 
scene, comedian, juvenile man, eccentric comedian, juvenile 
woman, soubrette. This is an interesting play, containing 
much humor, with some really touching passages. Pro- 
fessor Drissler is a quaint character, while Cleopatra, his 
young wife, has an exquisite mingling of pathos and humor. 
Philip, the innocent "young bachelor," and Digby Punts 
the wise "old bachelor," are highly diverting, while Delia, 
the brisk lady's maid, has a lively part. An excellent play 
and one that is sure to please. 

SIX CHARACTERS. 

Early Vows. — A comedy, two acts, by Charles Townsend. 
Modern costumes; time, one hour. Interior scene, leading 
juvenile man, two eccentric comedians, old man, juvenile 
woman, soubrette. "Early Vows " belongs to Denison's 
"Alta series" of high-class plays, and is one of the best two 
act comedies ever written. The author has been very suc- 
cessful as Capt. Winthrop, and, moreover, every character 
in the play is very fine. Ned Wilder, the jolly, reckless, 
ne'er-do-well, is a great character, and so is Sampson, the 
peppery old servant. -Mr. Curtis has an excellent old man's 



PRIVATE THEATRICALS. 



57 



part, and Miriam, his daughter, is delightful in her romantic 
notions. Susan is a lively maid, and the play is full of snap 
and "go." Requires good acting, one scene — a well 
furnished room, costumes modern. This play can be 
highly recommended. 

The Irish Liiien Peddler. — A farce, two acts, by T. S. 
Denison. Modern costumes; time, forty minutes. Two 
interior scenes, Irish comedian, juvenile man, old man, 
juvenile woman, scheming widow, Irish girl. One of Den- 
ison's brightest character farces, full of bright wit, rapid 
action, and comical situations. Every character is good, 
and the play is sure to keep an audience in a roar. 

The Kansas Emigrants. — A farce, one act, by T. S. Den- 
ison. Modern costumes (one Indian) ; time, twenty minutes. 
Interior scene, two negro comedians, two juvenile men, 
walking gentleman, juvenile woman. A short, " knock- 
about" farce, with plenty of ludicrous business. Well 
adapted to a small stage. 

Deception. — A farce, one act, by Charles Townsend. 
Modern costumes; time, thirty minutes. Interior scene, 
juvenile man, two low comedians, old man, juvenile woman, 
old woman. This is one of the liveliest farces ever written, 
and one of the very best for private theatricals. Every 
character is a "star" part, and the situations are intensely 
funny. The cool young man, the fussy old man, the brag- 
gart from " Bosting," and pugnacious Irishman, are simply 
great, while the two ladies have excellent parts. The 
" duel " scene will keep an audience in a roar, and there is 
not a dull line in the play. 

Is the Editor In ? — A farce, one act, by T. S. Denison. 
Modern costumes; time, twenty minutes. Interior scene, 
four male, two female characters — all comic. Another knock- 
about farce, full of comic by-play and absurd situations. 
Laughable,exciting,and just the thing for a school exhibition. 



PRIVATE THEATRICALS. 



A Family Strike. — A farce, one act, by T. S. Denison. 
Modern costumes; time, twenty minutes. Interior scene, 
three male, three female characters — all comic. Blitzen is 
a "corker," and all the characters are good. Suitable for 
the drawing room. 

The Misses Beers. — A farce, one act, by Emil Ludekens. 
Modern costumes; time, twenty-five minutes. Interior 
scene, two juvenile men, old man, two juvenile women, old 
woman. An enjoyable farce in which things get sadly 
mixed. Bright, humorous and witty. 

On Guard. — A farce, one act, by Charles Townsend. 
Modern costumes; time, twenty-five minutes. Interior 
scene, Irish comedian, old man, juvenile man, character 
comedian (dude), juvenile lady, Irish girl. This is con- 
sidered to be one of the best Irish farces ever written, and 
it is certainly one of the most successful. McFinnegan 
cleverly fools the hot-headed Col. Pepperell, helps Tom 
Majily with the Colonel's daughter, "bounces" the dude, 
and wins Molly for himself. He is full of bright Irish wit^ 
and the fun never flags. Nothing better can be selected for 
private theatricals. 

//z the Wrong House. — A farce, one act, by Martin 
Becher. Modern costumes; time, thirty minutes. Interior 
scene, eccentric comedian, light comedian, old man, utility, 
juvenile lady, old woman. A witty, laughable play, full of 
droll humor and amusing situations. Every character is 
excellent, and the fun is kept up from beginning to end. 
An eccentric author, an eloping couple, an irate father, a 
puzzled detective and a horrified landlady, combine in this 
play to make a half hour of. unalloyed merriment. 

A Lucky Sixpence. — A farce, one act, by E. J. Browne. 
Modern costumes; time, thirty minutes. Interior scene, 
three comedians, old man, juvenile woman, old woman. A 
seedy adventurer passes himself off as the nephew of a rich 



PRIVATE THEATRICALS. 



59 



man. When the real nephew arrives he is denounced as a 
fraud. Some highly amusing business follows, but at last 
the nephew establishes his identity by means of a lucky six- 
pence. A well written play and deservedly popular. 

The Pull Back. — A farce, one act, by T. S. Denison. 
Modern costumes (old-fashioned); time, twenty minutes. 
Interior scene, six female characters. This is a ladies' play, 
and is especially adapted to school use. It is exceedingly 
laughable, and never fails to make a hit. 

Hard Cider. — A sketch, one act, by T. S. Denison. 
Modern costumes; time, ten minutes. Interior scene, four 
male, two female characters. A laughable sketch, bringing 
out the temperance question very clearly. Just the thing 
to "fill in" at a school or society entertainment. 

The Two Puddifoots. — A farce, one act, by J. M. Morton. 
Modern costumes; time, forty minutes. Interior scene, two 
old men, light comedian, juvenile woman, old woman, sou* 
brette. An ever popular farce in which a great deal of 
amusement arises through the love affairs of Puddifoot, 
senior and junior. 

SEVEN CHARACTERS. 

Hans Von Smash. — A farce, one act, by T. S. Denison 
Modern costumes; time, thirty minutes. Interior scene^ 
German comedian, old man, two juvenile men, two juvenile 
ladies, soubrette. Without doubt this is the most popular 
German farce published. Hans, the stupid, easy-going 
Dutchman is a caution, whose ludicrous blunders create roars 
of laughter. His calm, good nature is happily contrasted with 
the rage of those who suffer through his blunders; and the 
more he mixes things up the better he thinks he is doing. 
This admirable farce, while adapted to all purposes, is par- 
ticularly suitable for private theatricals. Cannot be too 
highly recommended for this purpose. 



6o 



PRIVATE THEATRICALS. 



An Only Daughter. — A drama, three acts, by T. S. Den- 
ison. Modern costumes; time, one hour and fifteen min- 
utes. Interior scenes, comedian, heavy character, juvenile 
man, two old men, juvenile woman, soubrette. A really 
excellent play which may be presented on any small stage. 
Nick Boone, the comedian, is a laughter-provoking character, 
yet a whole-souled, manly fellow withal. Edith, the wronged 
and suffering wife, has a very pathetic part. Sally is amus- 
ing, and in fact, all the characters in this charming little 
play are excellent. 

Wide Enough for Two. — A farce, one act, by T. S. Den- 
ison. Modern costumes; time, forty-five minutes. Interior 
scene, two character comedians (negro and German), two 
old men, juvenile man, juvenile woman, old woman. A 
noisy, roaring farce, full of broad fun, with capital negro and 
German characters. 

Wooing under Difficulties. — A farce, one act, by J. T. 
Douglass. Modern costumes; time, thirty-five minutes. 
Interior scene, two old men, juvenile man, low comedian, 
juvenile woman, old woman, soubrette. This is a standard 
farce, and is overflowing with fun. An intended son-in-law 
and a new servant are each mistaken for the other, and a 
ludicrous scene is the result. 

Pets of Society. — A farce, one act, by T. S. Denison. 
Modern costumes; time, twenty-five minutes. Interior 
scene, six female characters. A sharp and laughable take- 
off on the modern "society" girl. The characters are well 
drawn, and the play is sure to please. 

Home. — A comedy, three acts, by T. W. Robertson . 
Modern costumes; time, two hours. Interior scene, light 
comedian, old man, juvenile man, heavy character, two 
juvenile women adventurers. A splendid comedy for pri- 
vate theatricals. It requires a small cast, and only one 
scene throughout the play. Alfred Dorrison has an excel- 



PRIVATE THEATRICALS. 



6l 



lent light comedy part, and the other characters, without 
exception, are all very strong. "Home" is a general favorite 
wherever produced, and cannot be too highly recommended. 

The Rough Diamond. — A farce, one act, by J. B. Buck- 
stone. Modern costumes; time, forty minutes. Interior 
scene, four male, three female characters, Margery and 
Cousin Joe having "star parts." A favorite farce in which 
many of the best known actors have appeared. The char- 
acters are well contrasted, there is a constant flow of wit 
and humor, and the business is very laughable. Easily 
produced, and cannot fail to please. 

My Turn Next. — A farce, one act, by T. J. Williams. 
Modern costumes; time, forty-five minutes. Interior scene, 
two low comedians, light comedian, utility, two juvenile 
ladies, soubrette. Undoubtedly one of the best farces ever 
written. The timid Air. Twitters imagines that his wife — 
who was formerly a widow — is a female Bluebeard, and that 
she has poisoned him. His terror is shared by Tim, and 
the two have a terrible time — but a most enjoyable one for 
the spectators. 

Grandfather s Mistake. — A drama, two acts, by H. T. 
Craven. Modern costumes; time, one hour and thirty 
minutes. Interior scene, old man, two comedians, juvenile 
man, utility, old woman, juvenile lady. A touching and 
highly effective domestic drama — one of the best ever writ- 
ten. Immensely popular. 

In the foregoing list every play mentioned is particularly 
adapted to private theatricals. They may be played in any 
room, as only interior scenes are required, and none of them 
present any difficulties in costumes or properties. Another 
thing, the plays I have described can be presented with 
small casts of characters — a very important matter where 
the stage is small. Many fine plays cannot be presented on 



62 



PRIVATE THEATRICALS. 



a small stage — either through want of room or lack of 
scenery — and this subject will be fully considered in the 
next chapter, which I shall devote to the more advanced 
amateurs. 



CHAPTER XI. 

PUBLIC PERFORMANCES. 

When amateurs become ambitious to tread the boards of 
a regular theater, they should exercise a great deal of cau- 
tion. The great American public is no respector of persons, 
and errors which would be overlooked by your drawing- 
room friend would not be excused in a public performance. 
Therefore, in an entertainment of this sort, there must be no 
"hitches." All must be letter-perfect in their lines, and 
the costumes, scenery, properties and stage effects, must be 
correct in every detail. 

Rehearsals should be very thorough, giving particular 
attention to the business. Every member of the company 
should be given to understand that an entertainment of this 
sort means hard, earnest work, and that only by concerted 
effort can success be attained. 

In giving an entertainment for "sweet charity," you 
naturally desire to have as "large a house" as possible. 
With that purpose in view you should appoint as business 
manager some energetic gentleman who will take charge of 
the outside work. Let him see that the entertainment is well 
advertised — not only in the newspapers, but also by means 
of handbills, posters and the like. If the entertainment is 
given for the benefit of an organized society, each member 
thereof should appoint himself a committee of one to sell 
as many tickets as possible. In getting out your bills and 
posters avoid the flamboyant " circus-poster " style. Make 



PRIVATE THEATRICALS, 



65 



your announcements modestly, to the end that spectators 
may be happily disappointed in finding the entertainment 
better than they expected. 

But the play ! 

Ah ! there is the rub. 

Some of your ambitious actors will be of the opinion that 
light, easy plays are all very well for the drawing-room or 
school, but when acting on a real stage you should go in for 
something solid. Your " tragedian," — if you have such an 
affliction — will probably suggest <; Othello," while your too 
ambitious comedian will offer to do Bob Acres, Alfred Evelyn 
or some other equally impossible character. Some of the 
ladies, too, on such an occasion, may long for a chance to 
try Juliet, ox Beatrice, or Camille, or something more or less 
absurd. 

Do not listen to them unless you wish to fail. 
Bear in mind the advice previously given, and select plays 
within the scope of your company. 

Tragedies, of course, are entirely out of the question ; 
and it would be equally unwise to select any of the intricate 
comedies, requiring as they do long, arduous study, and 
years of experience properly to portray them. 

In selecting plays you should always keep in mind the 
special talents of your best people. If your best actor is a 
low comedian, select a play having plenty of broad comedy; 
if he is a " character " comedian, then a role like Pucker in 
" Louva the Pauper," Mc Shane in " Under the Spell," or 
Moses in " The Woven Web," will give him plenty of oppor- 
tunities. Many plays are so well balanced that they con- 
tain- a number of excellent parts. Most of the plays written 
by authors like Dem'son, Townsend, and the late George M. 
Baker, are remarkably well balanced, which accounts, in one 
respect, for their wide popularity. 

One-part plays, lurid melodramas, and complicated farces 



6 4 



PRIVATE THEATRICALS. 



should be studiously avoided. No amateur can expect to 
carry the weight of a one-part play and lurid, " blood-and- 
thunder " dramas are never desirable. Complicated farcical 
plays, like " Saratoga," for instance, require such rapid 
action and such concerted work — to say nothing of the 
large cost — that amateurs are almost sure to fail if they 
undertake them. 

Strong, emotional plays, are not advisable. Few am- 
ateurs are capable of depicting the great passions without 
ranting or displaying palpable weakness — either of which 
would be fatal to anything like artistic effect. 

Plays requiring a very large cast or many supers cannot 
be recommended. If more than a dozen people are engaged, 
you will find it almost impossible to have perfect rehearsals. 
Those having small parts will think it is immaterial whether 
they attend rehearsals or not ; and as such persons are 
never perfect in their lines or business, some blunders are 
almost certain to occur during the performance. Supers 
are open to the same objection. They rarely take any 
interest in their work, they are seldom ready when wanted, 
and many effective scenes are entirely ruined by their care- 
lessness. So as a rule, avoid plays requiring their services. 

Elaborate scenic effects are not desirable in amateur 
entertainments. It requires the services of a trained, skillful 
man to handle the complicated scenery and stage effects. 

Everything must move like clockwork, for a blunder at 
such a time would be disastrous. And even if you have the 
necessary scenery and effects, your inexperienced hands will 
take up so much time shifting scenery between the acts 
that the audience will grow weary and impatient at the delay. 

Therefore, let me again advise you to select plays re- 
quiring but a reasonable number of characters, few if any 
supers, and above all, nothing difficult in the way of scenery 
or stage effects. 



PRIVATE THEATRICALS. 



65 



All the plays in the following list are free from the fore- 
going objections, and amateurs will make no mistake in 
selecting any of them for public entertainments. The plays 
are described solely on their merits — with special regard to 
their fitness for various localities. 

Louva the Pauper. — A drama, five acts, by T. S. Denison. 
Modern costumes; time, two hours. Interior scenes, nine 
male, four female characters. This fine play has a variety 
of excellent parts. The character comedians, the rough and 
refined heavies and the juvenile leading man, have splendid 
opportunities. Louva is a powerful role for an emotional 
actress. The play is exceedingly well written, the plot is 
consistent, every character is admirably drawn, and there 
are good parts for all. Is popular alike with city and coun- 
try audiences, as it pleases all classes. 

Under the Laurels. — A drama, five acts, by T. S. Den- 
ison. Modern costumes; time, two hours. Interior scenes, 
five male, four female characters. Has very laughable 
Yankee and negro character parts, a powerfully drawn type 
of the ''gentlemanly" villain, and excellent juvenile lead, 
and the four ladies have choice roles — all being unusually 
good. This play has a strong, concise plot, the action is 
rapid, direct and clear, and many of the scenes are very 
exciting. The humor is abundant, is never forced nor 
unnatural, and like " Louva the Pauper," this play is pop- 
ular both with city and country audiences. The parts are 
all so strong and well balanced that there is but little choice 
between them — a fact which will be duly appreciated when 
casting the characters. 

From Sumter to Appomattox. — A drama, four acts, by 
E. C. Whalen. Modern and military costumes; time, two 
hours and thirty minutes. Interior and one exterior scene, 
six male and two female characters. This play is in Den- 
ison's " Alta " series. It has a fairly good plot, and the 
5 



66 



PRIVATE THEATRICALS. 



business at times is rapid and exciting. The play is cleverly 
written, though rather "talky," and contains some remark- 
ably good characters. The leading man, refined- heavy old 
man and leading lady, have well written parts; but the 
" star " character is that of Wash, the negro, which is ex- 
cruciatingly fanny. This play will suit almost any audience, 
and if the character of Wash is in able hands, the play will 
please everybody without exception. 

A Soldier of Fortune. — A comedy drama, five acts, by 
Warren J. Brier. Modern costumes (one military) ; time > 
two hours and thirty minutes. Interior and exterior scenes, 
eight male, three female characters. The plot of this play 
is meager, but the characters are well distributed, and the 
humor is of a rough-and-ready kind, which is popular with 
the masses. The leading character — Col. Fitznoodle — is an 
impossible creation, though very laughable. The female 
characters are excellent, there is a comical, impudent 
negro, and the incidents, though unusual and melo-dramatic, 
are, nevertheless, of a nature that highly interests an 
average audience. The play is a popular success, and can 
be produced without trouble. 

The Danger Signal. — A drama, two acts, by T. S. Den- 
ison. Modern costumes; time, two hours. One interior 
scene, seven male, four female characters. A well-written 
and highly popular drama. The plot is direct, the action 
never wavers, and the characters are evenly balanced. 
Enfield has a powerful role allowing some very strong work, 
and the two low comedians — Pat and Persimmon — are 
screamers. The juvenile man and light comedian are first- 
class, and, in fact, there is not a poor character in the en- 
tire cast. 

Under the Spell. — A drama, four acts, by E. C. Whalen. 
Modern costumes; time, two hours and thirty minutes. In- 
terior and exterior scenes, seven male, three female char- 



PRIVATE THEATRICALS. 



6 7 



acters. This is a temperance play, and a good one. It is 
a play of incident, having little or no plot, but is so thor- 
oughly lifelike and natural that it appeals strongly to our 
common humanity, and therefore is always successful. The 
characters, without exception, are unusually good. Kings- 
ley — who is "under the spell," — and his friend Harold, are 
splendid types of young American manhood. Wilbur,, the 
politician, Lightfoot, the saloon keeper, and Hawley, the 
gambler, ably represent the seamy side of life. Dennis and 
Hans have the comedy parts, which are very laughable. 
Laura is a spirited girl, Mrs. Kingsley a gentle suffering 
wife, and Katie is a lively servant. 

Jedediah Judkins, J. P. — A comedy, four acts, by W. J. 
Brier. Modern costumes; time, two hours and thirty min- 
utes. Interior and exterior scenes, seven male, five female 
characters. The character and incidents of this play belong 
almost entirely to the domain of farce. There is no possi- 
bility in either, yet the action is so rapid and the fun so 
continuous that this fact is unnoticed. Jedediah is a highly 
amusing character, of the "Joshua Whitcomb" type — mix- 
ture of pluck, cunning and credulity. De Camp is a laugh- 
able "crook," John Craincross a typical English cockney, 
Herbert, his son, a manly young fellow, and Prentiss a 
remarkable detective. The ladies have excellent parts, 
especially the loyal-hearted Esther and the merry Berm'ce. 
This is a very successful play, and can be highly recom- 
mended where plenty of fun is desired. In "Alta" series. 

Odds with the Enemy. — A drama, five acts, by T. S. 
Denison. Modern costumes; time, two hours. Interior 
scenes, seven male, four femal*e characters. A well con- 
structed play, having a clear, logical plot and a variety of 
excellent characters. Carter is a specimen of a heartless 
scoundrel, and will give plenty of opportunities for a good, 
''heavy" man. Tabbs is a bright and comical negro, full of 



68 



PRIVATE THEATRICALS. 



life and "ginger." Alice, the leading lady, and Betsey, the 
soubrette, are strong characters. 

Seth Greenback. — A drama, five acts, by T. S. Denison. 
Modern costumes; time, one hour and fifteen minutes. 
Interior scenes, seven male, three female characters. Seth 
Greenback is a powerful character, Pat Muldawn, his ser- 
vant, is very laughable, and the others are good. This play 
is immensely popular wherever presented. Many of the 
scenes are intensely thrilling, others are very pathetic, and 
all are interspersed with passages of the brightest humor. 
A standard play, and one that never fails to please. 

The Pet of Parsons Ranch. — A drama, five acts, by 
W. F. Felch. Modern costumes; tirre, two hours. In- 
terior and exterior scenes, nine male, two female characters. 
A really excellent play for amateurs, who will find it one of 
the liveliest dramas of Western life ever written. The plot, 
incidents and characters are strikingly original, and the 
play will suit the most critical amateur clubs. Pet Parsons, 
the heroine, Jeff Rogers, the plucky stage driver, and Father 
Flynn, are three strong, original characters, worthy of the 
best talent. The situations are thrilling, each act ends with 
a striking tableau, and as there is but little straining for 
effect, the play seems real and lifelike. 

Sea Drift. — A drama, four acts and prologue, by Harry 
Houston. Modern costumes; time, two hours. Interior 
and exterior scenes, eight male, two female characters. An 
exciting play, full of rapid action and sustained interest. 
Matt, or "Sea Drift," is an excellent soubrette character, 
with touches of genuine pathos. Gerald Lacey, the leading 
man, has a fine part, and Mother Carew, "the witch," is a 
weird character. Monk is a powerful "heavy," and O'Dowd 
a laughable Irishman. The play requires thorough re- 
hearsing and good stage facilities, but will amply repay for 
the labor expended in preparing it. 



PRIVATE THEATRICALS. 



6 9 



The School Ma am. — A comedy, four acts, by T. S. Den- 
ison. Modern costumes; time, one hour and forty-five 
minutes. Interior scenes. A brilliant play, filled to over- 
flowing with keen wit and lively humor. Miss Bell, the 
plucky teacher, Mc Whack, the janitor, Johnnie Grump and 
his doting "mamma" and Cypher, who "agrees with the 
Board," are all drawn from real life. Mirth and sadness 
are cleverly mingled in this charming play, which is an un- 
qualified success wherever produced. 

The Yankee Detective. — A drama, three acts, by W. E. 
Stedman. Modern costumes; time,, two hours. Interior 
and exterior scenes, eight male, three female characters. 
Where sensation and excitement are desired, without regard 
to probability, this play will fill the bill. While the charac- 
ters and incidents are unreal and strained, yet the rapid 
action, and the astonishing acumen of the " detective," 
always pleases an average audience. Miller, the "detective," 
assumes a variety of disguises, and has plenty of exciting 
business. Southard, the villain, is partly a knave and largely 
a fool, while his pal, Wilson, is a very shrewd "crook." 
Snifton and Splinters are a couple of amusing rascals. 
Granny Wizzle is a unique character, and the other ladies 
have good parts. 

The Sparkling Cup. — A drama, five acts, by T. S. Den- 
ison. Modern costumes; time, two hours. Interior and 
exterior scenes, twelve male, four female characters. A 
strong temperance play, specially adapted to a club or 
society where plenty of characters may be secured for the 
various roles. The play teaches a great moral lesson, in a 
highly interesting manner. The characters are excellent 
throughout, and many of the scenes are highly effective. 
It is easily produced, and never fails to please. 

Among the Breakers. — A drama, two acts, by George M. 
Baker. Interior scene, modern costumes; time, one hour 



70 PRIVATE THEATRICALS. 

and thirty minutes; six male, four female characters. This 
is one of the most popular plays for amateurs ever published. 
It has been produced thousands of times with invariable 
success. The characters are excellent. David Murray is a 
powerful "heavy,." and will give a good actor plenty to do. 
Peter Paragraph, the "newspaper man," is very funny, and 
there are capital negro and Irish characters. The ladies 
have opportunities for excellent work. Bess Starlight is a 
fine soubrette part, and the romantic Minnie Daze is highly 
amusing. 

The Spy of Gettysburg. — ("Alta" grade, price 25 cents.) 
A drama, four acts, by Charles Townsend. Two interior 
scenes, modern and military costumes; eight male, three 
female characters; time, two hours and twenty minutes. 
This is considered one of the best war plays yet published, 
and is especially adapted to amateurs, owing to the ease 
with which it may be produced. Only two scenes are re- 
quired — a well-furnished room, and a plain room. The 
plot is clear, logical, and of the most thrilling interest. Each 
act ends with a powerful tableau, and the climax is intensely 
exciting. Every character is first-class. Harry Lenox, the 
hero, is a brave manly young fellow, whose pluck and ready 
wit never fail; Mabel, the heroine, is a splendid type of the 
high-spirited, fearless American girl, while the mischievous 
Lottie and the self-willed Mrs. Mulvey are equally good. 
The sleepy Mr. Mulvey, the stuttering Tapley, the villainous 
Blackburn and the distinguished General Meade are power- 
fully drawn, while Solomon, the negro, is one of the funniest 
darkies ever seen. The incidents of the play cluster about 
the great battle of Gettysburg, making the play doubly in- 
teresting, as it is founded on fact. 

Down by the Sea. — A drama, two acts, by George M. 
Baker. Interior scene, modern costumes; time, one hour 
and thirty minutes; six male, three female characters. A 



PRIVATE THEATRICALS. 



71 



popular play which requires no scenery, and may be pro- 
duced in any hall. The characters are diversified, and the 
play has a most ingenious plot. This play is very popular, 
and cannot be too highly recommended for amateur clubs. 

Saved from the Wreck. — A drama, three acts, by Thos. 
K. Serrano. Interior and exterior scenes, modern cos- 
tumes; time, two hours and thirty minutes; eight male, 
three female characters. This is a sensational play, and 
takes well where plenty of excitement is wanted. The 
characters are varied so that every member of the company 
can be suited. 

Border Land. — A drama, three acts, by Charles Town- 
send. Two interior and one exterior scene, modern costumes; 
time, two hours; eight male, four female characters. A 
very successful play, founded on the life of Jack Ralston, 
the famous scout. The play shows his adventures in New 
York, and afterward at his ranch in Arizona. He has a fine 
part in the drama, and so have Dempsey, the renegade, 
McFaddle, the Irish politician, Cyrus, the negro, and Charley 
Lester, the young "terror." Mary, the banker's daughter^ 
Polly, her lively young sister, and Miss Spriggins, have ex- 
cellent roles, while. Winona, the beautiful Indian girl, is an 
original and very popular character. The success of this 
play has been decided, and it stands in the front rank 
of popular Western plays — a favorite both with amateurs 
and professionals. 

The Flowing Bowl. — ("Alta" grade, price 25 cents.) A 
drama, three acts, by George M. Baker. One interior 
scene, modern costumes; seven male, three female char- 
acters; time of playing, two hours and twenty-five minutes. 
This is not a "barroom" play, although the evils of intem- 
perance are shown in a forcible way. This is the best play 
ever written by the talented Baker. The wit has a razor- 
like keenness, the humor is exquisite, and in the stronger 



72 



PRIVATE THEATRICALS. 



passages the action is sharp and exciting. The characters 
are all powerfully drawn. Marion Moore has a fine pathetic 
role, Jessie is the incarnation of mischief, and Mrs. Morris 
is a lively "old woman." Fitzpatrick is one of the best gen- 
tlemanly Irishmen on the stage, and the other characters 
are uniformly good. 

The Woven Web. — A drama, four acts, by Charles 
Townsend. Interior scenes, modern and military costumes; 
seven male, three female characters. This play is a prime 
favorite both on the amateur and professional stage. The 
plot is skillfully laid, rising to a climax of remarkable power, 
and the interest is kept up from the rise to the fall of the 
curtain. The characters are admirably portrayed. Walter 
Hastings, the brave young Federal colonel, Harry Falconer, 
the dashing Confederate, and Uncle Toby, the breezy old 
planter, are exceptionally strong. Joseph, the scheming 
gambler who weaves the web, Tim, the quick-witted young 
Irishman, and Moses, the comical old negro, are all great. 
Bertha, the orphan girl, Louise, the Southern heiress and 
A ant Judy, the drowsy old lady, make a trio hard to match. 
"The Woven Web" is a universal favorite, and is highly 
recommended. 

Once on a Time. — A drama, two acts, by George M. 
Baker. Interior scene, modern costumes; time, one hour 
and twenty minutes; four male, two female characters. An 
easy and effective play, popular with amateurs. The 
story is that of a man who has fallen into the power of a 
scoundrel who uses this power to force a marriage with 
his victim's daughter. There is plenty of bright fun in the 
play, and as no scenery is required, it may be produced in 
any hall. 

Broken Fetters. — (" Alta " grade, price 25 cents.) A 
drama, five acts, by Charles Townsend. Interior scenes, 
modern costumes; time, two hours and twenty minutes; 



PRIVATE THEATRICALS. 



73 



seven male, three female characters. It shows the evil 
effects of strong drink, not by "preaching," but by example. 
The plot is original and effective. There is no hackneyed 
"barroom" scene, but the power of rum is shown as it exists 
to-day. The characters are admirable. The hero is a 
temperance man who acts instead of preaching. Then there 
is his friend who loses all through drink, and the villain who 
leads him on — both strong parts. Old Grimes, and Ludwig, 
the brutal dive keeper, Potter, the politician, and Finnigan, 
all have excellent roles. Mrs. Grimes is very funny, Mrs. 
Leland is a charming woman, and Annie, her sister, is a de- 
lightful character. The play is highly successful, and may 
be produced in any hall. 

Rio Grande. — ("Alta" grade, price 25 cents.) A drama, 
three acts, by Charles Townsend. One interior, one exterior 
scene; modern and military costumes; time of playing, 
two hours and thirty minutes; seven male, four female 
characters. A good drama, perfect in plot, rapid in 
action, and every character admirably drawn. There are 
many scenes of touching pathos, and others of rich 
humor. The leading male character is Segura, a wealthy 
Spaniard — a remarkable character, original in conception, 
and giving splendid opportunities for effective work. Col. 
Lawton and Capt. Wybert, have good, "straight" parts, and 
Judge Biggs — the "old settler" — is full of quaint fun. The 
"tenderfoot" Lieutenant, the droll old Irish sergeant, and 
the would-be "tough," are three great comedy roles. 
Retta, the Spanish girl, Sophia, the Colonel's daughter, 
Mamie, her "rapid" friend, and the explosive Mrs. Biggs, 
form a quartette of female characters worthy of the highest 
talent. The author retains the sole professional stage right 
to this play, but by special arrangement amateurs are 
allowed to produce it free of charge. Clubs wanting a 
powerful play, can find nothing better than "Rio Grande." 



74 



PRIVATE THEATRICALS. 



CHAPTER XII. 

THEATRICAL TERMS. 

IN writing this book I have avoided as far as possible 
the stock words and phrases of the professional stage. 
Amateurs, however, are so often puzzled over the meaning 
of words of this class, that I have prepared a glossary which 
explains the meaning of familiar words used in the pro- 
fession. For convenience, I have arranged them alpha- 
betically, as follows : 

Action. The general movement and business required 
in a play. Some plays, especially comedies, have very little 
"action," depending chiefly upon witty dialogue for success. 
In farces and melodramas, on the contrary, "action" is the 
principal feature — being comic in the former, and intense 
in the latter. 

Asides. Stage talk which only the audience is supposed 
to hear, unless it is addressed to another performer. 
"Asides" must be spoken very distinctly, and only a trifle 
lower than the ordinary tone. 

Auditorium. That part of a theater occupied by the 
spectators. 

Borders. Strips of canvas, to represent sky or woods, 
which are lowered from above. 

Border Lights. These are lights placed overhead to 
prevent the footlights from throwing the upper part of the 
figure into the shadow. 

Box Scene. A scene where the sides are closed in like 
the walls of a room. * 

Business. All actions necessary to accentuate the words 
of a part. "Business" is the real text of an actor's ability, 
for a man who cannot act his part as well as speak it, will 
never succeed in this profession. 

By-play. A form of "business" introduced to make a 



PRIVATE THEATRICALS. 



7S 



character appear natural. Example, a person sitting at a 
table to read may cut the leaves of a magazine while another 
speaks. By-play is usually introduced when other characters 
are speaking, and it is often necessary to make an effective 
entrance or exit. 

Call. A notice issued by the stage manager — usually of 
rehearsals. 

Call boy. The prompter's assistant, who warns the per- 
formers to be ready for their entrances. 

Cast. The dramatis persona — those taking part in a 
play, and the characters they assume. 

Character parts. Roles in which a performer represents 
any odd or striking type. The term is rather broad in its 
application, as it may imply "heavy" characters, "dialect" 
characters, "eccentrics," etc. Generally speaking, a "char- 
acter" actor is one capable of assuming any unique role. 

Climax. The strongest scene in a play — as, for instance, 
the close of the fourth act in a five-act play. 

Coach. An experienced actor who instructs beginners. 

Comedy. A play in which the foibles and follies of 
people are exposed in a humorous manner. "Money," and 
"The School for Scandal," are examples of high comedy. 

Comedietta. A short play of the comedy class, in which 
a single episode of life is illustrated. "Too Much of A 
Good Thing" is an example of such plays. "Comediettas" 
are especially adapted to private theatricals, as they are 
short, witty, and easily produced. 

Comedy-drama. A comedy in which the subject is treated 
seriously. In pure comedy the "villain" is usually an un- 
known quantity; and if he appears at all — like Joseph 
Surface, in Sheridan's masterpiece, his designs utterly fail. 
In "comedy-drama" the "villain" is a more important char- 
acter, but he never succeeds in creating serious trouble. 

Comedian. An actor who plays comic parts. The appli- 



?6 



PRIVATE THEATRICALS. 



cation is general, as it includes a variety of actors. The 
light comedian has roles such as were made famous by 
Charles Matthews and Lester Wallack — easy-going, impu- 
dent, rattle-brained characters, like Dazzle, Charles Surface 
or Hugh Chalcotte. The low comedian plays a great variety 
of characters. He has the leading part in nearly all farces, 
and generally a strong "character" part in most dramas. 
The eccentric comedian does the quaint, odd characters. 
Ike, in "Under the Laurels," and Eccles, in "Caste," are 
typical "eccentric" comedians. 

Cue. A signal for speech or action — usually the former. 
An "entrance cue" is the word or business on which the 
actor enters. A "music cue" informs the leader of the 
orchestra when certain music is to be played. A "business 
cue" is the signal for any business on or off the stage — the 
firing of guns, thunder, lightning, noises of any sort, lowering 
the lights, etc. The utmost attention to cues is absolutely nec- 
essary. Every actor should paste this in his hat. 

Down. Toward the footlights. 

Drama. A play of real life, in which the plot, action 
and characters are entirely lifelike. 

Dressing the Stage. Being in the right place at the right 
time, so that the business of the scene may be performed 
naturally, and all crowding or awkwardness avoided. 

Dress Rehearsals. The final rehearsals which are con- 
ducted exactly like a regular performance, with every detail 
of action, business, make-up, properties and stage setting. 
This is very necessary where perfection is desired. 

Drops. Scenery lowered from above the stage. 

Easy. An actor is said to be "easy" in a part when he 
is perfect in lines and business, and able to act with entire 
confidence. 

En Rapport. To be en rapport with a part is to be per- 
fectly in sympathy with it so as to bring out all the strong 



PRIVATE THEATRICALS, 



77 



points — to feel the part so that one may be the character, so 
to speak. This is very necessary, especially in pathetic 
roles. 

Entrances. The space between the wings through which 
the performers pass to the stage. The "left" entrances are 
those at the actor's left hand as he faces the audience — the 
"right" being at his right hand. The "first" entrance is 
that nearest the footlights; the "second" is the next toward 
the rear of the stage, and so on. The "upper" entrances 
are those farthest from the footlights. 

Expression. The degree of feeling exercised in playing 
a part. There are three forms of expression — vocal, facial 
and muscular. The first controls the voice, the second the 
face, the third the figure. All are essential to good acting, 
for a person without "expression," will never be more than a 
"stick." It is necessary, then, to study every tone, look and 
gesture in order to act well. Make a note of this. 

Fake. Anything of a worthless nature. 

Farce. A style of play in which probability or even 
possibility is not considered. A play written for the sole 
purpose of creating laughter. 

Fat. A part is said to be "fat" when it gives an actor 
unusually good opportunities to make himself prominent. 

Fishing for lines. An actor is said to "fish" or "feel" 
for lines when he is not perfect in his part. 

Flat. The back scene, whether an interior or exterior. 

Flies. Refers to the space above the stage where the 
sinks and borders are worked. 

Forte. An actor's forte is the line of work to which he 
is best adapted. 

Footlights. A row of lights at the front of the stage. 

Gag. To introduce words not in the play. This is a 
pernicious habit, and should never be tolerated except when 
necessary to prevent a stage wait. 



7 S 



PRIVATE THEATRICALS. 



Grooves. Guides through which scenery is run in from 
the sides. 

Heavy. An actor who does the "villain" in a play. 

Holdifig the stage. Remaining at the rear or center in 
order to gain undue attention. A selfish habit common to 
many "stars." 

Ingenue. A style of character in which naivete is as- 
sumed. In reality a very ''knowing" young woman. 

Jonah. Anything that brings "bad luck" — an unfortu- 
nate person, play or theater. 

Juveniles. Those who do the young lovers in a play. 

Leading man. Usually the most prominent man in a 
company, or a star's chief support. The term "leading" is 
also applied to the "leading heavy," "leading comedian," 
"leading juvenile," etc. 

Left. At an actor's left hand as he faces the audience. 

Length. Forty-two lines. 

Letter-perfect. To know a part perfectly. 

Line. An actor's style of work — leading, comedy, 
heavy, etc. 

Lines. The words of a part. 

Making-up. The art of preparing the face and figure 
to represent any desired character. 

Melo-dratna. A style of play where sensation is the 
principal object. In plays of this class there is usually more 
noise than sense, and probability is lost sight of entirely. 

Mouthing. Speaking with such noisy rapidity that the 
words are indistinct. One of the worst habits that an actor 
can acquire. 

Mugging. Drawing the face out of shape for the pur- 
pose of creating laughter. An atrocious fault of many 
comedians. 

Old man. All middle-aged and elderly roles — both 
straight and comic. 



PRIVATE THEATRICALS. 



79 



Old woman. Under this head is usually included all 
elderly or middle-aged female roles, as well as old maids, 
character parts and the like. 

One part plays. Plays like "A Regular Fix," or "My 
Awful Dad," where the interest centers almost entirely 
about a single character. It is needless to say that such 
plays are not suitable for amateurs. 

Over-act. Spoiling a part by making it too strong in 
any way. 

Pitch. The key in which a person speaks. A high 
pitch is far more penetrating than a low one, even though 
the volume is the same. This should be borne in mind 
when playing in a large theater. 

Playing at the audience. To play at the audience is to 
direct your speeches to the spectators. This should never 
be allowed, except when a "front" aside is necessary, as it 
destroys the illusion of reality, and sadly mars the beauty 
of the play. 

Prompt side. Usually the left hand side of the stage. 
Properties. All articles required in a play, either on or 
off the stage. 

Property plot. A list of the articles required in the play. 

Queer. To "queer" a play is to introduce words or 
business which may prove detrimental to the performance, 
or to have a scene spoiled by an incompetent actor. 

Ragged. A "ragged" performance is one in which 
actors drop their lines now and then — or forget their busi- 
ness in a scene. 

Rant. Speaking too loud, or with the voice pitched too 
high. 

Repose in action. An easy, graceful bearing, avoiding 
too many gestures, even in the most intense passages. The 
unfailing sign of a finished actor. 

Right. At an actor's right hand as he faces the audience. 



So 



PRIVATE THEATRICALS. 



Ringing in. The prompter's signal for the orchestra to 
begin the overture. A notice that the music has been 
"rung in" is the last warning given the actors before the 
curtain rises. 

Ringing up. The signal for the /owering of the lights 
and the rising of the curtain. 

Rocky. A "rocky" performance is one in which there 
is a general uncertainty in lines and business — where all are 
"fishing" more or less. 

Run. (i) The number of consecutive performances of 
a play. (2) An inclined plane extending from the stage 
into the wings. 

Scene plot. A list of the scenery required in a play. 

Set. The stage as prepared for a play or an act. 

Set piece. Any piece of fixed scenery — a house, rocks, 
tree, etc. 

Sinks. Painted canvas, lowered for sky or wood 
effects. 

Soliloquy. A speech in which an actor is supposed to 
think aloud. A long "soliloquy' 1 is very difficult to render 
properly, and must be carefully studied. 

Skeleton. A small part, offering but few opportunities 
for good work. 

Soubrette. A lively, frolicsome role for females, intended 
chiefly to create laughter. The chief character in many 
plays. 

Star. An actor or actress of unusual ability. In some 
cases the only possible definition is that a "star" has the 
best part, and a name in larger type than the others. 

Stick. A poor actor. To forget one's lines. 

Strike. To "strike a scene" is to change the setting 
from one scene to another. 

s Study. Learning a part. To have a "quick study" is 
to learn rapidly. 



PRIVATE THEATRICALS. 



81 



Supers. Characters taking the parts of soldiers, sailors, 
mobs, citizens, etc. 

Tag. The last speech in a play. 

Thinking part. A "thinking part" is one taken by a 
super who has nothing whatever to say — who does not even 
cheer nor groan. 

Throwing lines. Prompting an actor who has forgotten 
a speech. 

Traditional business. The regular business of a scene 
according to established custom. 

Under -act. To act without proper force or feeling. 

Up. (i) To be familiar with a part. (2) Toward 
the rear of the stage. 

Utility. A line of small parts usually given to beginners. 

Versatile. A "versatile actor" is one capable of playing 
a great variety of characters. 

Wait. When an actor fails to enter at the right time he 
causes a "stage wait." This is a serious offence, which 
cannot be excused. 

Wings. Canvas screens placed at the side of the stage 
and painted to represent either an interior or exterior. 

Winging. Studying a part in the wings before going on. 



6 



NOTHING BETTER * ~5=r, 

ALL SORTS OF GOOD THINGS. 

CONTENTS OF No. 6. PBIOE POST-PAID, PAPER, 25 CENTS. 



Boy, A Brave, Temperance Recitation. 

Bachelor of Many, One 

Bill Nye's Hired Girl, Very Funny. 

Beggar Boy, Only a, Pathetic. 

Break ! Break ! Break ! 

Brakeman, About a, Comic Sarcasm. 

Christmas Carol, A 

Chinese Lilies, Beautiful Sentiment. 

Concert, A Home, Fine Domestic Tribute. 

Counting Eggs, Negro Dialect (Good Encore.) 

Conquered, A Song for the 

Camp, Music in, G. A. R. Recitation. 

Diffidence. 

Down the Stream, Pathetic Life Lesson. 
De Massa ob de Sheepfol'. 
Decoration Day Oration. 
Dead, He Woke the, Comic Negro Speech. 
Disappointment, Sore, A Vainly Sought Kiss. 
Elder Sniffles' Courtship, Very Humorous. 
Elf-Child, The, Good Encore. 
Flood of Years. The 

Four Flies, The, Comic Boarding House Epi- 
sode. 

Fence o' Scripture Faith, The, Pathetic 

Scotch Dialect. 
God in History. 
Girls Study, How, Humorous. 
Grant, Eulogy on, Pathetic. 
Guilty, Yes, I'm, Temperance 
Human Littleness. 

Ireland, Appeal to, Patriotic, Oratorical. 

Is Fidelity Eternal ? • 

Long Ago, Fine Retrospect. 

Love Song, A Concord, Extravaganza. 

Logan, A Tribute to, Patriotic. 

Mary Stuart, Scene from, Dramatic (fine). 

McDonald's Charge at Wagram, Heroic. 



Marriage, A Theosophic, Humorous. 
Maiden Martyr, Pathetic Poem. 
Mysterious Rappings. 
Model Woman, The 
Musket, The Man with a, Patriotic. 
Mary Jane, The Modern, and Mediaeval Bal- 
lad of, Fine Shadow Picture Piece. 
Niagara's Sacrifice. 
Norine. 

Nothin' to Say. 

On the Other Train, Pathetic. 

Outlaws, The 

Price of a Drink, The,Temperance Recitation. 
Pin, A 

Pickett's Charge at Gettysburg, Heroic. 

Parson Kelley. 
Prayer. 

Rainy Day, The 

Romans, Appeal to the, Oratorical, 

Santa Claus, A Sailor. 

Scrooge's Reformation. 

Sign Board, Temperance Poem. 

Sojourners. 

Soubrette's Revenge, The, Good Hit at Re- 
porters. 

Stern and Wild, His Eye Was, Comic Anti- 
Climax. 

Serenade, A Hopeless, Comic. 

Scene from Richelieu, Dramatic. 

Toboggan Slide, Miss Splicer's, Comic. 

Tribute, A Just, Comic. 

Trouble in the Choir, Humorous Poem. 

Un Potpourri D' Elocution, Medley. 

Valedictory, A Modern High School, Bur- 
lesque. 

Why It Was Cold in May. 
What is a Minority ? 



T. S. DENISON, Publisher, 

163 Randolph Street, CHICAGO. 



DENISON' S LIST COMPRISES CHOICE PLAYS of APPROVED MERIT SUITED to the PRESENT DAV 



NEW AMATEUR PLAYS. 



Price 15 Cents Each, Postpaid, 



These plays are for schools and amateurs who have little or no scenery or stage con« 
veniences. They contain nothing which cannot be presented in parlor, schoolroom or hall. They 
are ingenious in plot, entertaining in incident, and so easy in presentation that no society, how- 
ever little experienced, can fail to make them at all times highly entertaining. They are pure in 
tone and language. 

"The tone of these plays is good. Their moral is healthful." — Pacific School and Home. 

"I have tested your plays and find them the best I have ever used in thirty terms of school."—* 
Ruth Haynes, Henrietta, O. 

"Your plays are new and novel, and admirably adapted to the use of amateurs." — W. O. Dyke s 
West Gorham, Me. 

"Your plays seem to grow better." — M. L. Spooner, Canaseraga, H. Y. 

ODDS WITH THE ENEMY. 

A drama in 5 acts, by T S. Denison; 7 m., 4 f. Time, 2 h. Scenes: A handsome parlor, and 
poor room. Characters: Heartless shark, dandy, darky comedian, a retired officer, and a private 
soldier, leading lady, soubrette, Yankee domestic, etc. This is an excellent play when well pre- 
sented. Its tone is first-class, and it is sure to please. 

"It took splendidly. Tabbs made it spicy." — C. E. Rogers, Dunkirk, Ind, 

SETH GREENBACK. 

A drama in 4 acts, by T. S. Denison; 7 m , 3 f . Time, 1 h., 15 m. Scenes: Parlor, room in a 
hotel. Irish comedian, Irish domestic, soubrette, leading lady, old man, villains. Seth Greenback 
fraudulently withheld his brother's portion of the paternal estate, excusing himself on the ground 
that the latter was a profligate spendthrift. The brother steals Seth's only son. By a strange 
fatality the little fellow is abandoned, and is taken in unknown to Seth, who treats him harshly. 
In a burglary of the house the boy is shot, and the secret is discovered. Very interesting through- 
out, and a great favorite. 

"Seth Greenback was a perfect success. It can't be beat asan amateur drama."— Will H. Tal- 
bott, Coatesville, Ind., Dramatic Club. 

THE ASSESSOR. 

A humorous sketch, by T. S. Denison; 3 m,, 2 f. Time, 10 m. Illustrating the difficulties of 
the assessor in listing the property of Mr. Taxshirk, a farmer. Owing to the indiscretion of '"Bub" 
and "Sairy Jane," the assessor catches the "hul kit." Very amusing. 

BORROWING TROUBLE. 

A farce by T. S. Denison; 3 m., 5 f. Time 20 m. Contains philanthropic gent who is a dead 
beat, old lady gossip, darky servant girl, doctor, detective. Scene: A plain room. This play illus- 
trates the amusing experiences of a borrowing family. Some mustard in borrowed milk causes 
"strange feelings," and raises a ludicrous cholera excitement in the family. 

"Borrowing Trouble fully sustained the excellent reputation gained by its author. It brought 
down the house." — Madison {Wis.) Democrat. 

HANS VON SMASH. 

A roaring farce in a prologue and one act, by T. S. Denison; 4 m., 3 f. Time, 30m. Hans, a 
"fresh" Dutchman; Katie, Irish domestic; Mr. Prettyman, too pretty to live; practical young 
ladies, etc. Scene: Plain room in a farmhouse. It has been rendered again and again all over 
the United States, and is always in demand. It will bear repeating every year. 

Hans Von Smash is No 1, and no mistake." — J. J. Flahiff, Helena, Ark. 

"Our Literary Association has presented upward of fifty dramas and farces, but never had any 
take like that." — Secretary Chelmsford Center (Mass.) Literary Association. 

OUR COUNTRY. 

A patriotic drama in three parts, by T. S. Denison; requires 10 n., 3 f. (Admits 11 m.. i5f.) 
Time, itoi^ hrs. Based on the Colonial and Revolutionary history of the United States. ' Cos- 
tumes may be all made cheap at home. Characters: Brother Jonathan, John Bull, young ladies 
representing thirteen colonies, American, British and French officers, darky, Indians, etc Tab- 
leaux: Indian attack, Burning of Stamp Act, Continental Soldier and Guardian Angel, Offerings 
of Peace. Scenes: Interior of log cabin, plain room, a picket post, Gen. Marion's tent, a street. 

"Our Country took so well, that we repeated it to a crowded house." — Nel Sweeney* Wins- 
low. III. 

WANTED, A CORRESPONDENT. 

A farce in 2 acts, by T. S. Denison; 4 m., 4 f. Time, 45 m. Middle-aged business man, 
young man, coachman, lively young ladies, and darky servant girl. A misunderstanding about 
an advertisement for a correspondent leads to amusing complications, and very unexpected 
results. 



6 



Denison' s Descriptive Ltst. 



fHE SCHOOL MA'AM. 

A brilliant comedy in 4 acts, by T. S. Denison; 6 m., 5 f. Time, 1 h , 45m. Characters: 
Irish janitor, a good Mrs. Gamp an J her *■ little son," a self-made man (poor job;, a bold, 
scheming, young woman, a director who always "agrees with the board," and a plucky "school 
ma'am." Scenes: Plain room, and interior of a schoolhouse. Nearly every incident in it is 
based on facts. It presents the ludicrous features of our schools admirably without offence to 
any. The Friend of Education, Mrs. Gamp and her ' little son," ond the janitor will wreck the 
gravity of any audience By all means try this; it is not for schools alone, but it is capital for 
good amateur clubs. 

"It contains many good hits, and will be enjoyed by everybody." — Educational Weekly. 
"It took to perfection." — J. IV. Jarnigan, Lynnville, Iowa. 

THE IRISH LINEN PEDDLER. 

A capital farce in 2 acts, by T. S. Denison; 3 m., 3 f Time, 40 m Irish comedian, mid- 
dle-aged man, young man, a scheming widow, young lady, Irish servant girl. Scenes; Room 
in farm house, and room in a hotel. The action of this farce is lively, the incidents unexpected 
and ludicrous. Pat O' Doyle, the peddler, is a combination of wit, drollery and impudence. He 
will keep the house in high good humor. Easy of presentation and affords fine opportunities 
for acting. No poor character in the piece. 

"The Irish Linen Peddler cannot be excelled in wit and humor. It kept the whole house 
in an uproar of laughter." — T. J. Loar, Tozuanda, III. 

THE KANSAS EMIGRANTS. 

A hilarious farce in two scenes, by T. S. Denison; 5 m., 1 f. Time, 20 m Scene: Inte- 
rior of a shanty in Kansas. Contains two darky "Exodusters," early settler and wife, cow boy 
(to make up as an Indian), and a Boston swell. The incidents of this little play are so natural, 
yet so ludicrous that it must be seen to be appreciated. The way in which things get mixed, 
and the result of a practical joke will convulse any audience, no matter how solemn, and act on 
the liver more certainly than Podophyllin. 

"Don't want anything better than The Kansas Immigrants." — H. S. Kiehle, Circleville t Pa. 

TOO MUCH OF A GOOD THING. 

A rattling comedy-farce, by T. S. Denison; 3 m., 6 f. Time, 45 m. Characters: A pre- 
cise step-mother, and five young ladies in training, who are inclined to make mischief, a coun- 
try bumpkin, precise young man, old gent, full of sly humor. Scene: a parlor. Characters 
nearly all good. Tom Perkins, the bumpkin, will bring down the house, and keep it down. 
This play was prepared expressly for clubs, where female talent preponderates. It is a great 
favorite, as its large sale proves. m 

"We used 'Too Much of a Good Thing. It is the best thing out. — Dramatic Club, Fair- 
vieiM. Pa, 

IS THE EDITOR IN ? 

A lively farce, by T. S. Denison; 4 m., 2 f. Time, 20 m. Scene: Country printing office. 
Brassy editor, poetical old maid, aggrieved subscribers. Very amusing; illustrates the trials of 
country journalism, and of country subscribers. 

AN ONLY DAUGHTER. 

A drama in 3 acts, by T. S. Denison; 5 m., 2 f. (and little girl) Time, 1 h., 15 m. Scenes: 
Handsome parlor, poorly furnished room. Old man, Yankee comedian, leading lady, soubrette, 
worthless husband. This drama is full of touching pathos, but contains scenes of rich humor. 
Edith Harvey rejects a worthy suitor for an adventurer, with the usual results, intemperance 
abuse, desertion. Reconciliation and reform close the play. Nick Boone, the comedian, and 
Edith, the suffering wife, are very strong character 

"Have played 'Only Daughter' to a very large audience with grand success. — Secreiurf 
Dramatic Club, Botkins, O. 

WIDE ENOUGH FOR TWO. 

A roaring farce, om of Denison's very best; 5 m., 2 f. Time, 4$ m. Contains a rattling 
Du.ch comedian, sharp Negro ditto, male crank, female literary crank, practical business man, 
and* equally practical daughter. Scene: Plainly furnished room, no change. It is full of bus? 
ness from beginning to end, and never fails to take. Mr Wickerwork's "schemes" are exceed- 
ingly ludicrous when put in operation. Fritz Kellar's predicament is fairly side splitting, but 
he finally turns the tables. 

1 One of the best farces in existence. "—Dramatic Club, Danville, Ind. 

A FAMILY STRIKE. 

A farce in 1 act by T. S. Denison; 3 m., 3 f. Time, 20 m. Scene: Plain room Sug- 
gested by the great strikes of 1877; it illustrates strikes in the family in a very comical way. 
Mr. Blitzen, a very irascible old gentleman, his sentimental daughter Julia, his fashionable 
wife, and Mr. Gus Gullivant are the chief characters in a family misunderstanding. Gus is 
taken for somebody else, but all terminates happily when the mistakes are cleared. 

THE MISSES BEERS. 

A highly comical farce, by Emil Ludekens; 3 m., 3 f, Time, 25 m. The ludicrous features of 
this capital little farce depend upon the likeness existing between three ladies by the unromantic 
name of Beers of different families. The way their lovers get things mixed is keenly enjoyable. 
It is refined and telling humor. Characters: Two young couples, widow and widower. 



Denisons Descriptive List, 



7 



ON GUARD 

A farce, by C. F. Townsend; 4 m., 2 f. Time, 25 m. Full of go. Ludicrous situations. 
McFinnegan is a rare Irishman. 

WHICH WILL, HE MARRY ? 

A farce in 1 act, by Thos E. Wilks; 2 m., 8 f. Time ; 20 m. Scenes: Interior. Richard 
Wiggs, a barber; hears that a young lady of his neighborhood has fallen heir to seven hundred 
pounds. Uncertain who the fortunate damsel i he determines to make love to all the young 
ladies of his acquaintance; u.-fortunately he commits himself in his zeal and the tempest raised 
among the squad of fiancees is ludicrous in the extreme. By a little adroit complimenting he 
succeeds in getting out of a very bad box. 

MIKE DONOVAN'S COURTSHIP. 

A comedietta in 2 acts; 1 m , 3 f. Time, 15 m. Scenes: Plain rooms. One darky female. 
Mike in one scene disguises as a gipsy fortune teller. Mike enlists in the army for three 
months. On his return he finds his sweetheart Hattie, engaged to another man. Under the 
guise of a fortune teller he works on her feelings until he regains her favor. A first-rate piece 
for a "'chink" in a program. 

A DESPERATE SITUATION ; OR IN FOR A HOLIDAY. 

A farce, by F. C. Burnand; 2 m., 3 f. Time, 25 m, Scene: Neatly furnished lodgings of 
a bache'or. Full of business and fun. Popple is love with Mrs. Waggles, a young widow. 
He is hard up and lacks the funds necessary to tak- her on a holiday excursion. By mistake a 
costly bonnet is delivered - P. Mrs. W is suspicious, thinks he is false, and a scene ensues. A 
happy thought suggests his pawning the bonnet which belongs to Mrs. O'Bobster. She traces it to 
P.'s lodgings and while there seeking it, Mr O'B., who is very jealous, happens in. Ludicrous 
denoument and explanations. 

MY WIFE'S RELATIONS. 

A comedietta in 1 act, by Walter Gordon; 4 m., 6 f. Time, 1 h. Scene: Neatly furnished 
room. There is a vein of humor pervading it, which, with the droll situations, make it highly 
enjoyable. A young husband finds himself seriously plagued by his wife's relatives. When 
things are no longer endurable the lucky arrival of the husband's sister, who pretends to be a cousin, 
makes herself at home, and borrows money, opens the wife's eyes to the unwarrantable liberties of 
her own relatives. 

A WONDERFUL LETTER 

A farce by C. F. Townsend; 4 m.,if. Time, 25 m. Very popular. Skipper is immensely 
fun»y. Easy of presentation. 

I'M NOT MESILF AT ALL. 

A farce by C. A. Maltby; 3 m., 2 f. Time, 25 m. Seem: Breakfast-room in English villa. 
Old man, English cavalry captain, Phelim O'Rourke who palms himself off as an expected Mr. 
Hogan (he is a genuine son of the ould sod), Laura, the young lady of the house, chambermaid. 
Easily presented, and good where a short piece is wanted. 

UNCLE DICK'S MISTAKE 

A farce, by E. C. Whalen; 3 m., 2 f. Time, 20 m. The mistake was in proposing to the 
wrong woman. How Sammy, the enfant terrible, got Uncle Dick into the mistake, and how 
said uncle got out, will surely please. 

A KISS IN THE DARK. 

A farce, by J. B. Buckstone; 2 m., 3 ±. Time, 30 m. Scene: A parlor. This play is very 
easily presented and takes well. Mr. Pettibone, who is lately married, fears that his wife may not 
love him. He asks his newly arrived friend, Frank Fathom, who was an old lover of hers, to test 
her fidelity. She overhears, and her willingness to flirt surprises both gentlemen. P. in a rage. 
He contrives to get ink on her nose and puts out the lights as if by accident. F. kisses Mrs P. and 
afterward the servant, spreading the ink considerably. Mrs. F. arrives. Very funny termination. 

A BAD JOB. 

A very ludicrous farce, by H. Elliott McBride; 3 m. s 2 f. Time, 30 m. A tragedy man, a 
poetical man. a simple minded youth, fond of pie and anxious to marry, a fickle young lady and a 
widow. A taking piece, if rendered by those who properly appreciate the ludicrous. 

PLAYED AND LOST. 

A comedietta, by H. E. McBride; 3 m., 2 f. Tim», 15 m. Good for a school entertainn %it. 
Two Yankee dialect parts. Takes off the modern flirt, and contains an excellent lesson. 

BUMBLE S COURTSHIP. 

A capital dialogue; 1 m., 1 f. Time, 10 m. Scenes: Interior. Costume of beadle semi-mili. 
tary. This little sketch never fails to take. It represents the celebrated courtship of Beadle 
Bumble in Dickens' Oliver Twist. Nothing better can be found for a parlor or other light 
entertainment. 

LUCY'S OLD MAN. 

A sketch by H. E. McBride; 2 m., 3 f. Time, 10 ra. Two mothers plan for their children to 
marry. Erastus visits the young lady in the disguise of an old man seeking charity, but gets none 
from the fair Eleanor. The kindhearted cousin Lucy wins the prize unwittingly. 



8 



Deni son's Descriptive List. 



IN THE WRONG HOUSE. (TWO T. J'a.) 

A farce, by Martin Becher; 4 m., 2 f. Time, 30 m. Scene: A plain room. Two light come- 
dians, and two excellent parts for ladies. An eccentric author hires the lodgings of a young man in 
his absence; the latter has eloped with a young lady, and an irate father is in pursuit with a detec- 
tive. All confront the author about the same time, to the complete mystification of everybody. 
Very laughable throughout. A fine parlor play. " — " 



MY JEREMIAH. 

A very'amusing farce, by H. E. McBride; 3 m., 2 f. Time, 20 m. Irate female seeking her 
hen-pecked ''old man." One male darky, two Yankee characters. 

THE COW THAT KICKED CHICAGO. 

A humorous farce, by H. E. McBride; 3 m., 2 f. Time, 20 m. Very funny An Irishman, 
an Irishwoman, a Dutchman and a Yankee, each advance various theories a? to the cause of the 
Chicago fire to Mrs. Pinkerton, a curiosity seeker. 

THE BARES IN THE WOOD. 

A ludicrous farce, based on the story of the babes in the wood; 4 m., 3 f. Time, 25 m. Scenes: 
Interior and a wood. Costumes may be made easily and cheaply. Two overgrown persons for the 
"babes" make the piece a great success. 

BARDELL VS. PICKWICK. 

A farce; 6 m. (with attorneys, crier, etc.), 2 f. Time, 25 m. Scene: A court room. This play 
is arranged from the immortal Pickwick Papers of Charles Dickens. It is exceedingly humorous in 
every detail. It gives an excellent chance to 11 take off" local celebrities. 

THE WOMEN OF LOWENBURG. 

A historical comedy in five scenes, by E. Murray; numerous males and females, according to 
materia] (not less than 10 of each). Time, 30 m. Scene: The town hall of Lowenburg, Ger- 
many, during the thirty years' war. This is a most excellent piece for school exhibitions and 
literary societies, where there are plenty of actors. The men of Lowenburg attempted to com- 
pel the women to change their religion as the men themselves had already done. The town 
council passed a decree to that effect, but the women repair in a body to the town hall to protest. 
The men hastily decamp in ludicrous fear at the approach of their spouses. A vein of delicious 
humor runs through the whole. ^ dark 

A society farce, by \V. G. Van T. Sutphen; 4 m., 2 f. Time, 20 minutes. Two society young 
men call upon an aristocratic family, where there is a beautiful young heiress and a maiden lady 
of uncertain years, with the same surname, which leads to amusing complications. Both the gen- 
tlemen are fortune hunters. When pressed to stay for dinner, one discovers that he is not in full 
dress. He hits on the device of borrowing the other's coat to go into dinner. Number two, 
tired of waiting, borrows the coat of the butler, and follows to the dining room. Things get badly 
mixed, and just then the gas goes out. A splendid piece for light comedy purposes. 

HOMOEOPATHY; Or the Family Cure. 

A farce by J. C. Frank; 5 m., 3 f. Time, 30 m. Scenes.' Chamber and street. Charac- 
ters: A grasping old deacon with matrimonial designs on a charming young lady; Pat, the 
Irish doctor, who aids the favored lover to circumvent the deacon; indignant parent; widow with 
matrimonial designs. May introduce fine Irish songs. A very taking Irish play, comical, but 

* efined " S QUEERS' SCHOOL. 

A sketch from Nicholas Nickleby, by Charles Dickens; 4 m (and school boys\ 2 f. Time, 
10 m. Scene: A schoolroom. This is a scene in which the brutal Squeers attempts to chastise 
poor Smike, and is himself soundly punished by Nicholas Nickleby. 

THE FATHER OF HIS COUNTRY. 

By Marion West. An excellent entertainment, not only for Washington's Birthday but for 
any Friday afternoon in school. It contains a brief examination of the events of his life, eloquent 
extracts from Webster, Brougham and others suitable for speaking, and several tableaux illustrat- 
ing points in his great career. Singing of patriotic airs. Time, 30 tit. 

WHO SHALL BE QUEEN OF MAY? 

A beautiful little piece by Marion Wayland, suitable for not only May Day, but for any time 
in summer when flowers are plenty and light dresses may be worn. 1 in., 5 f., fairies, etc. Time, 

30 m " DAY BEFORE CHRISTMAS. 

By Alice P. Carter, a rollicking, jolly, old-time piece of Christmas fun, songs, Christmas gifts, 
fairy dances, etc. 4 m., 2 f., fairies, etc. Time, 20 m. 

THE CHRISTMAS SHIP. 

A sparkling little musical play by Nettie H. Pelham; 4 m. 3 f. Time, 20 m. Can be played in 
any schoolroom or parlor. By omitting Santa Claus and naming the piece, " When My Ship 
Gomes In," it is a pretty piece for any time of year. The music is all popular, such as any person 
who sings at all knows by "heart . 



DenisorCs Descriptive List. 



9 



WOOING UNDER DIFFICULTIES. 

A farce, by John T. Douglass, 4 m., 3 f. Scenes: Interior. Time, 35 m. Mr. and Mrs. 
iiill expect Mr. St. Pauls who is intended for their daughter. At the same time a new man- 
;ervant, Henry, is expected. Henry, who is a good looking fellow, is mistaken for Mr. St. Pauls, 
md is asked out to walk with them. Meanwhile Mr. St. Pauls puts in an appearance and is 
put to servant's work. This piece is very easily presented, and the ludicrous situations make it 
uproariously funny. A M0 DEL OF A WIFE. 

A farce, by Alfred Wigan, 3 m., 2 f. Time, 25 m. Bonnefoi has lodgings opposite 
Stump's] studio. He falls in love with Clara, the cousin of Mrs. S He calls and leaves 
note which falls into the hands of Mrs. S. Stump is very jealous and makes a scene. The 
Frenchman calls later in despair, and threatens to blow his brains out because Tom, the office 
boy, leads him to believe he has been making love to a dummy. Tom places Clara in a chair 
veiled as a lay figure, and B. goes through ridiculous scene apostrophizing u Ze beautiful figair." 
Good piece for light entertainments. RAm 

An interlude; 1 m., 1 f. Time, 20 m. Lady Desmond is shut up in the country during a 
spell of very wet weather. She invites a stranger to take temporary shelter during a heavj 
shower. She first thinks him a glazier, then is terribly alarmed lest he is a noted robber, 
finally discovers him to be a person whom she greatly wished to meet. Very entertaining, ending 
m a match. TWENTY MINUTES UNDER AN UMBRELLA. 

A sketch by A. W. Dubourg; 1 m., 1 f. Time, 20 m. This is a very interesting little his- 
tory of what happened to Cousin Frank and Cousin Kate, while a timely shower compelled 
them to spend twenty minutes under an umbrella. 

JUST MY LUCK. 

A farce, by Alfred Maltby: 4 m., 3 f. Time, 20 m. Scene; Plain room. Capt. Dunn, a 
humbug, corner lo woo Letitia Crumpets, but is arrested for debt to the disgust of the young 
lady. Mr. Crumpets goes swimming, fishermen steal his clothes, and leave theirs. C. is obliged 
to return in fisherman garb. Is mistaken by Capt. Dunn for burglar; amusing skirmish. Mrs. 
C. intercepts a note signed "M. C." and thinks her husband is engaged in a flirtation. Mike, 
who wrote the note to the servant, mistakes C. for a rival. They fight. Re-enter Dunn and 
policeman, general scuffle, mesmeric business, very funny. Place for good song. 

A LUCKY SIXPENCE. 

A farce, by E. J. Browne; 4 m , 2 f. Time. 30 m. Mr. Heartyman expects his nephew, 
Charles, from foreign parts. Scampwell, a genteel adventurer, hard up, overhears the old gen- 
tleman and his daughter Julia talking in the garden about Charles. He concludes to pass for 
Charles, hoping to "raise the wind." When the real Charles arrives things become exceedingly 
interesting, and he is denounced as bogus. He finally proves his identity by means of a lucky 
sixpence. Every part good, Starcher, the governess, and Scamp in particular. 

A SILENT WOMAN. 

A farce, by T. H. Lacy; 2 m., 1 f. Time, 25 m. Arthur Merton is engaged to Marianne 
Sandford. He travels extensively, and his knowledge of the world changes his views materially 
concerning women. He longs for one who is not loquacious. He reveals his feelings to Mr. S. 
who enters into a clever little conspiracy whereby the daughter plays deaf and dumb. Arthur is 
delighted, and when he discovers the ruse, is willing to forgive the fair deceiver. A capital piece 
for parlor performance. THAT RASCAL PAT. 

A rattling farce, by J. Holmes Grover; 3 m., 2 f. Time. 35 m. Scene: Public room in a 
hotel. This is the very cream of Irish farce. The wrath of Major Puffjacket in contrast with the 
inimitable drollery of Pat McNoggerty must be seen to be appreciated. It brings down the house, 
especially when Pat tries to serve two masters at once. Clubs will not miss it if they try this piece. 

CUT OFF WITH A SHILLING. 

A comedietta in one act, by S. Theyre Smith; 2 m., 1 f. Time, 25m. Sam Gaythorne marries 
Kittie without his uncle's consent. Uncle cuts him off with a shilling, and sends coin by mail. 
Col. Berners, the uncle, happens to call by accident, and, not knowing K., begins to draw out her 
history. The way she wins over the irascible ojd chap is very taking. This play will surely please. 



PLHYS FOR MKLE CHKRRCTERS, 



T AMINO A TIGER. 

A fares; 3 m. Time, 20 m. A roaring piece of fun from beginning to end. The best 
kind of after-piece, or good to fill in when there are plenty of males. Sure to take. 

A VERY PLEASANT EVENING. 

A farce, by W. E. Suter; 3 m. Time, 30 m. This farce is the very quintescence of the 
ludicrous. Mr. Tremor goes out ^sith his daughter. Breamer slips in hoping to meet Mary Anne, 
the maid. Screamer also slips in to see Betsey, another servant. He carefully locks door after 
him. Each hears the other and is frightened. Soon Mr. T. comes back, and the various 
dodges of the three as they try to get rid of one another, are simply immense. 



IO 



Detiison's Descriptive List. 



THE FRIENDLY MOVE. 

A sketch from Our Mutual Friend, by Charles Dickens; 4 males. Time, 20 m. This piece 
represents the consummate rascality of old Silas Wegg in his scheme to defraud Mr. Boffin. 
The ex-ballad seller, who "declined and fell," is sure to draw. Amusing. 

INITIATING A GRANGER. 

A roaring farce, by T. S. Denison; 10 m. Time, 25 m. Full of practical jokes. Scene: A 
student's room. This farce has had a large and steady sale. Though the "Granger" fever is 
no more, the humor of this farce will always amuse. 

"It was laughable beyond description." — jf. W. Simmons, Lawrence, Mich. 

COUNTRY JUSTICE. 

A very amusing country lawsuit, by T. S. Denison; 8 m. (may admit further a jury of 6 or 
12.) Time, 15 m. This little play will do equally well for boys or full grown men. The tes- 
timony, the arguments and the verdict are all remarkable. It is always popular. 

THE MOVEMENT CURE. 

Very funny scene in a doctor's office; 5 m,. (may make principal, negroes if desired.) Time, 
10 m. The office boys conclude to try the movement cure on a patient, and "thump" him more 
than is agreeable to the invalid. Very amusing diagnosis of the case. 

TWO GENTLEMEN IN A FIX. 

Capital little farce by W. E. Suter; 2 m. Time, 15 m. Scene: A railroad depot. The 
gentlemen impede each other in the doorway with their luggage, and in the wrangle both miss 
the train. They enter into an animated and highly amusing discussion which ends in the dis- 
covery that the younger is the protective son-in-law of the elder. When the discussion is 
ended they both stick in the door and kji'ss the next train. 

I'LL STAY AWHILE. 

A humorous farce, by H. E. McBride; 4 m. Time, 20 m. An old widower disappointed in 
love and politics becomes a hypochondriac and determines he must die. A device on the part 
of his friends causes him to think it best to stay awhile. One good Irish character 

THE CIRCUMLOCUTION OFFICE. 

Arranged from Charles Dickens' story of Little Dorrit; 6 males required, may admit 10. Time, 
15 m. Scenes : Offices. A splendid illustration of red tape as applied in the British government 
offices. Very humorous. 

PLHYS F-OF2 FEMHLE CHHRHCTBRS. 



THE PULL BACK. 

A laughable farce by T. S. Denison; 6 f. Time, 20 m. Scene: Waiting room of depot. 
Plain room will answer. This little play is very popular. Excellent old-fashioned old lady char- 
acter, and her adventures among the devotees of fashion. 

"I used the Pull Back in my school. It took splendidly."— A nna E. Musgrove, Metropolis, 

HL TWO GHOSTS IN WHITE 

A humorous farce, by T. S. Denison; boarding school life; 8 f. Time, 20 m. Very funny 
throughout, and contains some excellent hits. The ghosts result from an innocent freak of the 
girls which terminates in a ludicrous scene. Severe lady principal, gushing lady patron, Irish 
servant, jolly girls. pETS QF • SQCIET Y 

A farce, by T. S. Denison; 7 f. Time, 25 m. Scene : Handsome parlors. German or Scandi- 
navian girl, Irish girl, female dudes. Takes off the fashionable girl of the period to a dot. The 
conversation and the incidents are ludicrous in the extreme. 

"It must be read to be appreciated." — Theatrical Record. 

MRS. GAMP'S TEA. 

Arranged from Dickens' novel, Martin Chuzzltfwit; 2 f. Mrs. Gamp and Betsy Prig. Time, 
10 m Those who are familiar with the novel will need no description of these characters. An 
amusing quarrel arises over Mrs. Gamp's invisible friend, Mrs. Harris. 

A FAIR ENCOUNTER. 

A very lively comedietta, by Charles Marsham Rae; 2 f. Time, 25 m. A splendid case of 
diamond cut diamond. Just the thing for two bright ladies. 



MITSU-YU NISSi, Or the Japanese Wedding. 

A play of Japanese life, in 3 acts; 6 m., 6 f., servants, etc. Time, 1 h., 15 m. The costumes 
and furnishing wholly Japanese, after the style of the Mikado. Maybe prepared at home very 
easily, with small expense. Scenes: Interior of Japanese house, and the interior of a small 
Buddhist Temple. A striking, novel and popular entertainment Specially suitable for chuich 
societies. Full directions for performance* 



Denison! s Descriptive List. 



ii 



T6MPERKNC6 PLHYS, 

THE SPARKLING CUP. 

A temperance play in 5 acts, by T. S. Denison; 12 m., 4 f. Time, 2 h. Scenes: Hand- 
some parlor, counting house, saloon, street, reading room. May be produced in any hall. Char- 
acters : Old man, drunkard, canting hypocrite, villain, Yankee comedian, German ditto, women 
of the temperance union, temperance lecturer, loafers, little girl, etc. A thrilling play which 
always takes. It contains a very pathetic song by the little beggar girl. 

"The Sparkling Cup met with great success. It is the great rival of Ten Nights in a Bar 
Room."— W. F. Knhn, De Graff, O. 

ON THE BRINK; Or the Reclaimed Husband. 
A temperance play in 2 acts, by H. Elliott McBride; 12 m., 3 f. Time, 2 h. Scenes: 
Neatly furnished rooms, poor room, a barroom. Yankee comedian, old bachelor in search of a 
wife, old maid in search of a husband, the victims of drink, a disappointed politician, the insane 
wife. Seven of the male characters have short parts. This play always takes; combines racy 
humor with tender pathos. The part of the insane wife, is very touching. 

"We rendered On the Brink a number of times very successfully to crowded houses." — Dra- 
matic Club. Cordova. Minn. ___ „ 

' FRUITS OF THE WINE CUP. 

A temperance play in 3 acts, by J. H. Allei?; 6m., 4 f. Time; 1 hour. Scenes: Hand- 
some dining room, plain sitting rooms, and a street. Characters : A rich merchant who is 
ruined by drink, his lovely daughter Kate Andrews, her would-be suitor, who is a forger and 
villain, Speculation, the roving ne'er-do-well, who unearths all Andrews' plans, etc. Always 
popular with temperance societies, contains some thrilling scenes. It is very easily presented. 

HARD CIDER. 

An amusing little sketch, by T. S. Denison; 4 m., 2 f. Time, 10 m. Just the thing for a 
short entertainment anywhere, in school, parlor, or Red Ribbon Club. 

TEN NIGHTS IN A BAR ROOM. 

A temperance play in 5 acts, from T. S. Arthur's story of the same name; 7 m., 4 f 
Time, 2 h. Scenes: Interior and exterior of the " Sickle and Sheaf;" a landscape, a wood, a 
poor room in the house of Morgan, the drunkard. Contains a strong list of characters repre- 
senting nearly all classes of society. Switchel is a fine Yankee comedian. Ten nights in a Bar 
Room has been presented thousands of times, and is always a success when justice is done the parts. 
Can be presented in any hall. OUT IN THE STREETS. 

A temperance play in 3 acts, by S. N. Cook; 6 m., 4 f. Time, 1 h., 15 m. A celebrated 
play, and one that will always take. The trials of Mrs. Bradford are very touching. The 
Darky, North Carolina Pete, is very funny. 



D6NIS0N'S POI=\JL-7?R OP6R8TTKS. 



BONNYBELL : Or, Cinderella's Cousin. 

A musical play for young folks and children; libretto by Emma C. Vogelgesang. music by \V. 
G. Farrar. Seven principal characters, knights, ladies, attendants, etc., ad lib. Time required 
about 1 h. Scenes: The home of Bonnybell and a hall in the castle of the Prince. This little 
play is so simple that it may be presented in any schoolroom or parlor. 

"It abounds in pleasing, tripping songs, cheerful dialogue, a commendable plot, and attractive 
music." — Inter-Ocean. 

"Was produced here and met with decided approval." — E. Grantz, Spring Valley, N. Y. 

ELMA, THE FAIRY CHILD. PriC6 ' 25 ° entS ' 

By Frances M. Payson. A delightful play by a popular writer of music. Elma, the mortal, 
longs to be something different, and has her wish gratified in suddenly becoming a fairy. She 
makes the acquaintance of the fairy queen, Puck, and other notabilities of that wonderful land of 
flowers and melody.^ The piece sparkles from beginning to end with pretty rhymes and choice 
music. Time required about 1 h . 30 m. Five principal characters, male and female; others to 
fill up. The play opens at Elma's home, but the scene is soon transferred to fairyland; admits of. 
beautiful effects in the way of fairy costumes (which may be made at home) artificial and natural 
flowers, etc. 

"Pretty and easily managed, being quite simple, and capable of being costumed and acted by 
any company." — Springfield {Mass^j Republican. Price, 35 Cents. 

POCAHONTAS. 

A musical burlesque in 2 acts, by Welland Hendrick. Introduces Pocahontas, John Smith, 
John Rolfe, Mahogany, a gentleman of ebony finish, braves, etc.; 2 females, Pocahontas, 
and Ann Eliza Brown. Time, 1 h. The old story of Pocahontas is here done over in mosf 
laughable fashion. The dialogue is very funny throughout. The songs are adapted to popular 
airs, so that presentation will be very easy. The excessive dignity of the Indian chief in con- 
trast with the antics of Mahogany, and the dilemma of John Smith, when Ann Eliza Brown 
appears, can scarcely fail to convulse any aud' Price, 15 Cents. 



12 



Denison's Descriptive List. 



THE STAR DRAMA. 



Price 15 Cents Each, Postpaid. 



This series includes only plays of the highest order of merit. They are rich in variety of tnci. 
dent and spirited in action. The dramas combine tender pathos, delightful humor, and sparkling 
wit. The farces are brimful of the rarest fun. This series is very carefully revised by an expe- 
rienced editor. Each play is unabridged. They are unequaled in fullness of stage directions 
typography and print. There are no obsolete or worthless plays in this list, and nothing in any 
way objectionable. These plays are more difficult than those given under "Amateur Plays," still 
any good amateur club can present anything here. In this catalogue when costumes are not men- 
tioned there is nothing out of the ordinary line of dress or "costumes of the day." 

LOUVA, THE PAUPER. 

A play in 5 acts, by T. S. Denison; 9 m., 4 f. Time, 2 h. Scenes: Room in log house, 100m 
in planter's house, hut in mountains. Characters : Yankee comedian, darky ditto, a specimen of 
Southern "poor white trash," villain, Louva (the heroine), Southern planter, gipsy crone, darky 
crone, etc. Storm scene. This is one of the best plays for amateurs ever written, if popularity is 
a test of merit. It is intensely interesting and pathetic. It admits of striking scenic effects. Act 
I, Louva's tyrants. Act II, freedom promised and denied. Act III, the. trial. Act IV, the flight. 
Act V, pursuit; death in the mountains; retribution. 

"Send sample copy of a play that isasgood as Louva, the Pauper. That took splendidly hex-e.'* 
^-G. J. Railsbach, Minier, Dramatic Club. 

UNDER THE LAURELS. 

A play in 5 acts, by T. S. Denison; 5 m., 4 f. Time, 2 h. Scenes .* A handsome parlor, de- 
serted cabin in mountains, log jail. Characters: Mrs. Milford, elderly lady; Rose, her adopted 
daughter, plays a very spirited part; designing middle-aged man, who tries to win Rose; Frank, 
the accepted lover, who is the victim of conspiracy; Darky comedian; Yankee ditto; soubrette, etc. 
Not a poor character in the play. A thrilling scene at cabin; fine storm scene. Place: Mountains 
of the Central South. Under the Laurels rivals "Louva" and though not having the touching 
pathos of that play it excels it in business and variety of humor and action. Act I. Conspiracy. 
Act II. The Lost Inheritance. Act III. The haunted cabin, the storm in the mountains, Cliff- 
ville jail, the regulators. Act IV. Despair. Act V. Escape, capture, rescue. All's well. 

"We rendered 'Under the Laurels' to a large and critical audience, with telling effect. It is a 
capital play, and we shall try more of your plays." — Dramatic Club, Danville, Ind. 

"Under the Laurels gave splendid satisfaction." — /. R. Stevens, Manager Dramatic Club % 
Cantnl, la. A S0IiDIBIt QF FORTUNE. 

A comedy drama in 5 acts, by Warren J. Brier; 8 m., 3 f. Time, 2 h., 30 m. Scenes; Hand- 
somely furnished parlor, library, doctor's office, a wood; fine opportunities for stage setting. ^ Char- 
acters : Middle-aged gentleman, Spanish-American villain, Irishman, Darky comedian, juvenile 
comedian, old man, old maid, society young ladies, etc. Dramatic clubs can find nothing better 
than this play. It always takes. Its humor is rich and abundant. It affords ample scope for good 
acting. 

"We are well pleased with 'A Soldier of Fortune.' Do not think we have had a better play." 
■— W. H. Stewart, Sec. Dramatic Club, Le Sueur, Minn. 

A REGULAR FIX. 

A farce, by J. M. Morton; 6 m., 4 f. Time, 40 m. Scene : Elegant parlor. As its name nidi" 
bates this farce gets things in a regular fix. Hugh de Brass by mistake, gets into the wrong house 
Irery early in the morning, just after a grand ball; goes to sleep in an arm chair; wakes, overhears 
family secrets, is taken for somebody else, etc. His ingenious efforts to baffle inquiry, and his 
knowledge of the secrets of others keep up a torrent of continuous fun. The late Mr. Sothern 
deemed the character of De Brass worthy his efforts. 

THE YANKEE DETECTIVE. 

A stirring drama in 3 acts, by W. E. Stedman; 8 m., 3 f. Time, 2 h. Scenes: Detective 
offic&s, saloon, hotel at Long Branch, deserted laborers' quarters at a wild spot on the coast. 
Leading Characters: "The Yankee Detective," who assumes in turn role of plain citizen, trav- 
eling musician, summer resort boarder, and German sausage vender. This role affords fine oppor- 
tunities for character representation. Typical villain, and gang of counterfeiters. "Ole Tennes- 
see Sam" is a .first-class darky comedy character. Mrs. Willoughby, rich widow, Lulu Southard, 
the wronged wife, and Granny Wizzle, housekeeper for the gang. This play is very strong in 
rapidity of movement, variety of incident, scenic effects, and the culminating danger of the detec 
tive when he is captured by the gang of counterfeiters. 

"There is a general request that we play it again."— Sons of Veterans, Carson, /«. 



Denis oris Descriptive List. 



13 



THE PET OF PABSONS' RANCH. 

A comedy-drama of Western life, by W. F. Felch; 9 m., 2 f. Time, 2 h. Scenes : Interior 
at Parsons' hotel in the Sierras, and exterior in the stage robbery on the " Divide." Leading 
man, a "crack" stage driver of the gold-hunting days. Neil Norris, a gambler and "road agent," 
Old Pap Reeder, with his gold-extraction process, Aaron Parsons, a hunted man, miners, trav- 
elers, etc. Leading lady, Pet Parsons, (com edy) a real specimen of Rocky Mountain womanhood. 
Several characters afford fine opportunities to the ambitious amateur of the best grade. This 
is a wholesome sympathetic play that is brim full of the bracing air of its location— the Sierras 
of California before the days of railroads. 

THE DANGER SIGNAL. 

A drama in 2 acts, by T. S. Denison: 7 m , 4 f. Time, 2 h. Scene: A plain room, 
no change. Costumes: Every-day dress. Place: A lonely island in the "Great Lakes." Very 
easily presented. In this respect the amateur's best. No weak characters. Leading man, mid- 
dle aged (very strong), Irish and Darky comedians, Irish maid-of-all work, old lady (excellent), 
young heroine, young lady with more money than brains, a quack doctor full of theories, a United 
States engineer, a sentimental young (silly old) bachelor. This play is one of Denison's very best. 
The plot hinges on the central idea of Enfield's wrongs, and his burning desire for revenge which 
takes possession of him with the subordinate idea of concealing Stella's identity. Spirited action. 
The Danger Signal is certainly equal to Louva and Under the Laurels, these three leading in 
sale all others by the same author. 

kt It is without doubt one of the very best plays on the modern stage. Its humor is rich and 
abundant; its pathos touching, yet highly interesting." — Dramatic Club, Wyanet, III. 

CASTE. 

A comedy in 3 acts, by T. W. Robertson; 5 m., 3 f. Time, 2 h., 30 m. Scenes: Plain room, 
fashionable lodgings. Light comedian, eccentric old comedian young Englishman, leading lady, 
young lady, a Marquise. Costumes of the day (two military). Capt. D'Alroy, son of a Marquise, 
in defiance of caste, marries a young actress, and finds himself burdened with a drunken old father- 
in-law; D'Alroy goes as a soldier to India, and his wife suffers want in his absence. He returns, 
and is reconciled to his haughty mother. This play has been presented again and again 
for years in Europe and America. Every character is good. Eccles (.old man) is particularly 
strong; he and Sam Gerridge furnish abundant humor. 

NOT SUCH A FOOL AS HE LOOKS. 

A farcical drama in 3 acts, by H. J. Byron; 5 m., 3 f. Time, 2 h. Scenes: Handsome draw^ 
ing-rooms, plain room. Characters : A simple-minded baronet (who proves to be no baronet), a 
money broker, shabby middle-aged lawyer's clerk, (low English comedian' middle-aged lady, 
young lady, designing old female, etc. Byron's plays are always good, and this is one of his best. 
It abounds in telling situations, and has genuine humor. The plot is ingenious; the chief inter- 
est depending on the discovering who Sir Simon Simple really is. Mr Mold and Mrs. Mold, who 
" 'opes as 'ow she doesn't intrude," are taking comedy characters. 

HOME. 

A comedy in 3 acts by T. W. Robertson; 4 m., 3 f. Time, 2 h. Scene: Handsome par- 
lor, no change. Two light comedians, old man, servants, designing lady, two charming young 
ladies. Young Dorrison (aljas Col. White), has been in America for several years, and returns 
to find Mrs. Pinchbeck, an adventuress, about to entrap his unsuspecting father into a matri- 
monial alliance, at the instigation of her gambling brother. White, concealing his identity, de- 
termines to save his father, and engages in a flirtation with Mrs. P. to that end. The elder 
Dorrison detects White, and in a rage at the perfidy of his guest, orders him from the house. 
White, who has fallen in love with Dora Thornhough, discovers himself The noble conduct 
of Mrs. P., really the victim of her brother, brings the play to a capital climax. 

THE ROUGH DIAMOND, (The Country Cousin.) 

A farce, by J. B. Buckstone; 4 m , 3 f. Time, 40 m. Scene: Drawing-room. This is one 
of the best farces before the public. The best actors of the day have appeared in it. Margery, 
the "Rough Diamond," a beautiful country lass, marries Sir William Evergreen. Her Cousin 
"^e comes to see her. Their talk about the pigs, the neighbors, etc , and their actions are ex- 
/emely ludicrous to Sir W. and his fashionable friends. But circumstances illustrate well the 
•terling qualities of the Rough Diamond, compared with that of the fashionable Lady Plato, 
This farce is exceedingly funny, easily produced, and has an excellent moral. 

THE PERSECUTED DUTCHMAN. 

A farce, by S. Barry; 5 m., 3 f. Time, 35m. Scene: A hotel. Dutch and Irish come 
dians, sentimental young lady, dude, This farce is one of which the public never tires. John 
Schmidt, the persecuted Dutchman, is a commercial traveler at a hotel. Elopement of the 3Cii- 
timental young lady with a "nice" young man; wrathful rival, irate parent. Dutchy is mistaken 
for the "villain." No end of fun. The situations are indescribably ludicrous. 

THE LIMERICK BOY; Or Paddy's Mischief. 

A capital Irish farce, by James Pilgrim; 5 m , 2 f. Time, 30 m. Scenes: Plain roc*ns 
(may have street view) Paddy Miles, always full of mischief; Dr. Coates, the subject of one 
of Paddy's jokes; Mrs. Fidget; Jane, her daughter; Harry, son of Doctor; Jo\ a garc^ner. 
This little takce has the genuine ring of Irish humor 



14 



Denisoris Descriptive List. 



THE TOODL.ES. 

A drama in 2 acts; 6 m. (and 3 farmers with a few lines each), 2 r. Time, 1 h., 15 m. 
Scenes: Landscape, plain chamber, churchyard; (may be easily presented with scenes all inte- 
rior.) Toodles, comedian, is incomparable. Mrs. Toodles also has an excellent comedy part. 
George Acorn and Frank are brothers. Frank wins the girl to whose hand George aspired. Lat- 
ter goes to sea, and returns after twenty years; finds his niece engaged to a young sailor; re- 
venge is in his heart, and he determines to drive his brother's family out of the old home- 
stead under the terms of his father's will. Mary's trials and pleadings at last soften his heart. 
This play will win the sympathies of any audience. 

MY TURN NEXT. 

A capital farce, by Thos. J. Williams; 4 m., 3 f. Time, 45 m. Scene: A park>r. Mr. 
Twitters, a very timid apothecary, has just married a widow. Her former husband, who was 
constantly dodging debtors, had assumed various names, and Twitters is horrified to hear people 
speak of his wife, as Mrs. Green, Brown, Black, etc, successively. Peggy, the servant, hints 
mysteriously that Mrs T. made way with them. Twitters is greatly alarmed, fears he may 
meet the same fate. He starts when his wife whets the carving knife, fears poison, suspects 
the ale. Tim, his assistant, is sure he has been poisoned, and the fear of the two is excruciat- 
ingly ludicrous. Peggy is a capital soubrette. 

TURN HIM OUT. 

A farce, by T. J. Williams; 3 m.,2 f. Time, 35 m. Scene: A parlor. Characters: Lead- 
ing lady, good comic soubrette, male exquisite, comedian, etc. This farce, like all of Williams' 
plays, is first-class. Roseleaf calls at the house of Moke, and making himself disagreeable to 
Mrs. M., Susan, the maid, asks her lover, Nobbs, to "turn him out." Moke meantime appears 
and Nobbs puts him out by mistake. Roseleaf meantime is concealed. He reappears and so does 
Moke. They form an alliance to pitch Nobbs out but it fails ingloriously, and Moke goes out a 
second time Enraged, he again appears in disguise, and by a strange turn of affairs is carried 
off in a chest. LARKINS' LOVE LETTERS. 

A farce, by T. J. Williams; 3 m., 2 f. Time, 45 m. Scene: Plain room. Every character 
good. Pompous and irascible ex-colonel, two excellent comedians, leading lady, soubrette. There 
is no love at all in this play. The fun lies in the attempt of Boyleover a.id Lynx to discover the 
missing letters. In their zeal they turn the apartments of Mr. Benjamin Bobbins upside down. 
Easy to present, and full of business. 

ICI ON PARLE FRANCAIS. 

A farce, by T. J. Williams; 3 m., 4 f. Time, 40 m. Scenes : Apartments in a lodging house. 
Good Frenchman, excitable major and his young wife, Mr. and Mrs. Spriggins, Anna Maria (last 
three fine comedy.) Mr. Spriggins' "French before breakfast;" the wrath of the mistaken and 
jealous major, the comical attempts of the Frenchman to be polite under trying circumstances, all 
combine to make this one of the best of farces. 

THE LADY OF LYONS; Or, Love and Pride. 
By Sir Edward Bulwer Lytton. A romantic drama in 5 acts; 8 m., 4 f. (four other males with a 
few lines each). Time of representation, 3 h. Period: The French revolution. Scene: Lyons. 
Costumes : French of that day. Four of the male and three of the female characters are excel- 
lent. Many famous actors and actresses have appeared in this popular play, which is one of the 
best standard plays on the modern stage. It abounds in brilliant dialogue and stirring scenes. 
This edition is complete in every respect. 

EAST LYNNE. 

A drama in 5 acts, from the novel of the same name by Mrs. Henry Wood; 8 m., 6 f. 
Time, 2 h., 15 m. Scenes : Chambers and landscapes. This favorite play is so well known that 
little need be said of its merits. Different stars have played it throughout the Union. Lady 
Isabel, Cornelia and Mr. Carlyle are strong characters. 

THE TICKET-OF- LEAVE MAN. 

A drama in 4 acts, by Tom Taylor; 8 m., 3 f. Time, 2 h., 45m. Place: London. Scenes: 
Public houses, offices and plain rooms. Characters: Thieves; a detective; Bob Brierly, the un- 
suspecting country lad; bill broker; two young ladies; comedy lady. A first-class stock play, good 
at all times. The plot hinges on the fact that Bob Brierly is induced to pass counterfeit money 
by James Dalton, "the Tiger." Brierly is sent to Portland prison for four years, but by good 
behavior obtains a ticktt-of-leave, and enters the employ of Mr. Gibson, the banker. Here he 
is discovered by Dalton and Moss, who, on his refusal to aid them in robbing the bank, de- 
nounce him to Gibson. He loses his place, and with his wife (May Edwards) is reduced to 
great distress. Brierly finally redeems himself by exposing their plan to break into the bank. 
This fine play sustains a thrilling interest. Green Jones and wife are oddly humorous. 

WON AT LAST. 

A comedy in 3 acts, by Wybert Reeve, 7 m.. 3 f. Time, 1 h„ 45 m. Scenes: Drawing 
room, office, street. Characters : Old man, low comedian, villain, leading lady, walking lady, 
soubrette. A clean cut play, with some very exciting business at the close of Act II in the bill 
broker's office, also at the denouement when the villain Buchanan is so unexpectedly led into 
the presence of officers summoned by himself to drag away his victim, Capt. Warburtcn. The 
minor comedy parts admirably light up the darker colors of the plot. 



DenisorCs Descriptive List. 



SOLON SHINGLE; Or, the People's Lawyer. 
A comedy in 2 acts, by J. S. Jones; 7 m. (with males to form court and jury in trial scene), 
2 f. Time, 1 h., 30 m. Scenes: Plain rooms, counting house, street, court room. This is one 
of the best comedies ever put on the stage. Solon Shingle will convulse the audience with his 
droll Yankee humor. This is practically the same piece that was played for years by Denman 
Thompson undor the title of Joshua Whitcomb. 

GRANDFATHER'S MISTAKE ; Or, the Chimney Corner. 

A domestic drama in 2 acts, by H. T. Craven: 5 m., 2 f. Time, 1 h., 30 m. Scenes: It 
teriors. Solomon Probity, the grandfather, has lost the proper use of his mental facultie 
through old age. Not aware of what he is doing he conceals a box containing a large sum o- 
money, the legacy of Grace Emery, in the chimney. When the money is missed a note is founc. 
in the drawer from John Probity, the grandson, informing his parents that he has fled, anC 
asking them to forgive his rash act. He is at once suspected of having stolen the money, 
whereas he referred to his running away because of his hopeless love for Grace. A rival has 
him arrested, but all is explained by the sudden return of memory to Grandfather Probity 
This is a very fascinating play. 

LOST IN LONDON. 

A drama in 3 acts; 6 m., and 3 f. Time, 1 h., 45 m, Scenes: Interiors, landscape and in- 
terior of coal mine. A touching and powerful play. John Armroyd, a miner, marries a beau- 
tiful young wife. She is enticed away from him by Gilbert Featherstone, but bitterly repents 
her folly. Armroyd follows her to London, and finds her while Featherstone is giving a party. 
Nellie Armroyd swoons, and is seized with a violent illness. Afterward she recovers just in 
time to prevent a deadly encounter between the two men, but dies in Job's arms. Two or three 
characters speak the broad North of England dialect. Job's grief and Nellie's repentance are 
very touching. 

LONDON ASSURANCE. 

A comedy in 5 acts, by Dion Boucicault; 9 m., 3 f. Time, about 2 h., 30 m. Scenes: 
Handsome inteiiors and lawn. "Assurance" is well represented in several of the characters, for 
surely there was never a more u cheeky" individual than Dazzle, or a more impertinent one than 
Meddle. Lady Gay Spanker is unique in her dashing character. Old Courtney is surpassed only 
by his son Charles in their notions of what constitute a gentleman of the day; in short, every 
character is a study, and good. It is a capital piece for strong clubs. Plenty of fun, nothing drag- 
ging. It sparkles from beginning to end. 

A QUIET FAMILY 

A farce, by William E. Suter;, 4 m., 4 f. Time, 45 m. Scenes: Plain rooms. Characters; 
Two married couples and two couples of lovers (including two servants). A sprightly play. 
Two of the married couples are the victims of too much family government. The polite quar- 
rels wich take place are absurd to the last degree. The servants follow the example of their 
superiors. The "downtrodden" finally conspire together for mutual relief with surprising and 
highly satisfactory results. JOHN SMITH. 

A farce, by W. Hancock; 5 m., 3 f. Time, 30 m. Scene: Plain room. Every character 
^ood. An exceedingly funny piece. Old Smith takes a room which by a strange coincidence 
has been taken by his runaway son and wife. Smith to his amazement finds letters awaiting 
him, a boy calls to measure him for boots, etc. He concludes to take a nap. While he is 
asleep young Smith and wife enter, and the former , who is an actor, commences to rehearse a 
tragic part to the terror of Old Smith and Tom who are concealed in the room. A ludicrous 
scene ends in reconciliation. 

THE TWO PUDDIFOOTS. 

A rattling farce, by J. M. Morton; 3 m., 3 f. Time, 40 m. Scene : Plain apartment. Buf- 
fles, in looking for a husband for his niece Caroline, conclude? that Puddifoot Junior will do. 
Latter comes, but his father happens to arrive same day. Puddifoot Senior concludes for a 
joke he will woo Caroline himself. Passes for Puddifoot Junior. Latter turns ttz iables on 
him in a very unexpected way. And Mrs. Figsby, the housekeeper, discovers Puddifoot Senior 
to be an old flame of hers. Together they corner him. Characters all good, especially Buffles, 
Peggy and Puddifoots. 

MY NEIGHBOR'S WIFE. 

A farce, by Alfred Bunn; 3 m., 3 f. Time, 45 m. Scene: Plain room. Smith and Brown 
unknown to each other, attempt a flirtation with Mrs. Somerton, their neighbor's wife. She 
promptly tells her husband, by whose advice she allows each to come for a little supper at the 
same time. They are greatly annoyed with each other's society, and to their consternation the 
husband drops in; soon after their wives drop in and the discomfited husbands are thoroughly 
done for. A sprightly and taking play. 

MICHAEL ERLE, THE MANIAC LOVER. 

A romantic melodrama in 2 acts,' by Thos. Egerton Wilks; 8 m. 3 f. Time, 1 h., 30 m. 
Scenes : Chamber and exteriors. This is a thrilling and touching play. It is very popular with 
amateurs. Michael Erie becomes insane because his sweetheart was taken from him by the 
wealthy Philip D'Arville. Years afterward Philip induces another young girl to meet him near 
the village church where a carriage is in waiting, and he carries her off, stabbing Michael, 
who attempts her rescue. On a subsequent occasion, the maniac returns to reason long 
enough to clear her good name. He stabs Philip, who, dying, rallies, and shoots Michael 



i6 



Denison's Descriptive List. 



ALL THAT GLITTERS IS NOT GOLD. 

A comedy-drama in 2 acts, by Thos. and J. M. Morton; 6 ra , 3 f. Time, 2 h. Scenes: Hand- 
some apartments. Jasper Plum is a wealthy cotton spinner. His son Stephen falls in love with 
Martha Gibbs, a factory girl. The elder Plum finally agrees that his son shall marry Martha if 
she will come and live in his house and bear herself with irreproachable demeanor for three 
months. Frederick Plum has married Valeria, the daughter of Lady Westendleigh. Valeria indis- 
creetly indulges in a flirtation, which, though proving innocent, was very dangerous. Martha, at 
the risk of her own reputation, saves her and is on the point of being driven in shame from the 
house when Valeria nobly confesses all. The closing scenes are very touching. This is a beau- 
tiful drama, well worthy the efforts of the best clubs 

SLASHER AND CRASHER. 

A farce, by. John Madison Morton; 5 m., 2 f. Time, 50 m. Scene: A well furnished 
room. This play cannot be adequately described, but must be seen to be appreciated. Old 
Blowhard's fierce desire to have brave men for a son-in-law, and brother-in-law, and the abject 
cowardice of Sampson Slasher and Christopher Crasher, who aspire to those positions, furnish 
the pivot of the plot. Slasher and Crasher agree to work up a mock duel before Blowhard and 
Lieutenant Brown. It goes so far beyond Slasher's intentions that he falls into a perfect terror, 
whereat Crasher waxes still more brave. This scene is one of the most ludicrous imaginable, and 
never fails to set the audience roaring. 

HAMLET. 

By William Shakespeare. As arranged for the stage by Wilson Barrett; 12 m., 3 f., (lords, 
ladies, etc ) Time, 3 h. 

" Mr. Barrett has here presented the play in the most perfect form that it has ever been 
acted on the stage." The Stage, London, October, 1884. 

This edition is printed on good paper, with large clear type, and is suitable alike for the 
student, the teacher, the reader, the actor. 



SUNDAY SCHOOL PIECES. 



By PROF. J. H. GILMORE. 



One Hundred and. Eighteen Choice Fieces. 



PRICE, - - - - 25 CENTS. 



DA R"T* W E Embraces short poems for boys, girls and youths. All kinds of sentiment 
1 V/l^l are i nc l u ded, from sacred poetry to that containing a humorous tinge. 

jP A DTP TT\A/f) Includes prose declamations for boys, for girls, for young ladies, for 
■ VV KJ young gentlemen, and special addresses, such as welcome to a pastor, 
address to the superintendent, to a visiting school, on the death of a teacher, presentation 
speeches, etc. These may be modified to suit any occasion in day school or elsewhere. 

DA DTP TU D p p* Consists of dialogues for boys and girls, for boys alone, for girls 
1 • r ^*»* III alone, etc. Most of this book is good for public school use. 



(-A.lt; si Series.) 



UNCLE JOSH. 

A powerful farce-comedy in four acts, by Charles Townsend; 8 m , 3 f. Time, 2 h. 15 min. 
Scenes: parlor, apartments, street, saloon. Characters: Joshua Jarvis, from way down in Var- 
mount,a capital old rustic of the Josh Whitcomb style; De Courville, (French) is a "heavy 1, villain 
of the best kind; Joe, his pal, is a bar-room tough and bunko steercr; Erastus, colored, is a 
screamer, and his experience with Upson Downes, the dude, will ronvulse the audience; Mulcahey, 
(Irish) is a typical saloon keeper; Minerva is an old maid willing to marry; Letty, a charming 
young lady the object of De Courville's wiles. 

This play has a fine plot, thrilling situations, telling humor and everything needed to make 
\X.go. Not difficult to produce. {Ready Nov. 1st, 1891.) 

PBICE, : - - - 25 CENTS. 



Denisons Descriptive List. 



17 



THE ETHIOPIAN DRAMA. 



Price 15 Cegts Eacl), Postpaid. 



These plays are all short, and very funny. They serve admirably to give variety to a pro- 
gramme. The female characters may be assumed by males in most cases. Where something 
thoroughly comical is wanted, they are just the thing. Little or no stage apparatus is required. 
The number of darkies is given in those plays in which white characters occur. 

STAGE STRUCK DARKY. 

A very funny burlesque on high acting; 2 m,,if. Time, 10 m. Three negroes play Claude 
Melnotte, Lady Macbeth, Macduff, "Lucimicus," Damon and Pythias, etc. 

STACKS UP, STOCKS DOWN. 

2 m. A played-out author and his sympathizing friend. Time, 8 m. Very funny, and full 
of business. Ludicrous description of a fire. 

DEAF— IN A HORN. 

2 m. Negro musician and a deaf pupil. Time, 8 m. The "pupil" has a large horn which he 
uses for an ear trumpet, pretending to be very deaf. By stratagem the teacher causes him to hear 
suddenly; comical business with the music, etc. 

HANDY ANDY. 

2 m., master and servant. Time, 12 m. The old man is petulant; the servant makes all sorts 
of ludicrous mistakes, and misunderstands every order. Very lively in action. 

THE MISCHIEVOUS NIGGER. 

A very popular negro farce; 4 m., 2 f. Time, 20 m. (Only one darky, the mischievous nigger.) 
Scene : Chamber with bedroom off. Requires two sham babies. Characters : Antony Snow 
(the nigger), old man, French barber, Irishman, nurse, Mrs. Norton. 

THE SHAM DOCTOR. 

A negro farce; 4 m., 2 f. Time, 15 m. Liverheel, a wood sawyer, turns doctor, and practices 
on "old Johnson,'' a colored brother. The sham doctor will bring down the house. 

NO CURE, NO PAY. 

3 m. (1 darky), 1 f. Time, 10 m. Will suit the most fastidious; a good piece for schools or 
parlor. Dr. Ipecac has a theory that excessive terror will cure the deaf and dumb. His daughter's 
lover is mistaken for the patient, to his infinite terror. 

TRICKS. 

A negro farce; 5 m., 2 f. Time, 10 m. (Only 2 darkies. 1 m., 1 f.) Mr. Growler determines 
to marry his ward for her money. Harry, her lover, lays a plan for elopement. The old man dis- 
covers it, and determines to be on hand himself. They in turn discover his plan, and send him 
off with the colored girl in disguise. 

HAUNTED HOUSE. 

2 m., landlord and a whitewasher (also 2 or 3 ghosts.) Time, 8 m. The whitewasher discovers 
spirits in a house where he is at work, and is frightened badly in consequence. 

THE TWO POMPEY8. 

4 m. Time, 8 m. A challenge to a duel is worked up in a very humorous manner until the 
courage oozes out of the duellists 

AN UNHAPPY PAIR. 

3 m. (and males for a band.) Time, 10 m. Two hungry "niggers" strike the musicians for a 
square meal. Good for school or parlor. Very funny; ends with a burlesque dwet. 

THE JOKE ON SQUINIM. 

a. negro farce (Black Statue improved), by W. B. Sheddaw; 4 m., 2 f. Time, 25 m. Scenes'. 
A barn and a plain room. Mr. Squinim discovers his man, Pete, making love to Betsy, his daugh- 
ter. He disetearges Pete; the latter, with the assistance of Jake and a white maa, is sold to Mr. 
Squinim as a statue (draped in a sheet), capable of imitating the movements of life. Jake takes 
the place of the statue, and when Mr. S. turns the crank, knocks him down, etc. No end of fun. 

QUARRELSOME SERVANTS. 

3 m. Time, 8 m. Mr. Jenkins is unable to procure servants who will not quarrel. He adver- 
tises for a male cook and a hostler. The interview with the candidates is uproariously comical. 
When Bill brings Mr. J.'s breakfast the fun becomes decidedly rich. 



i8 



Denisons Descriptive List. 



SPORTS ON A LARK. 

3 m. Time, 8 m. _ Two niggers who are dead broke meet and get acquainted. Eugene St. 
Clair, who is out gunning, comes along. He has found a pocketbook, which they claim without 
success. They get his gun by chance and compel him to give up the pocketbook. By stratagem 
hs recovers the gun. Business very lively and taking. 

OTHELLO AND DESDEMONA. 

2 m. Time, 12 m. A side splitting burlesque on the chamber scene in Othello. The strang- 
ling of "Desdemona" will bring down the house every time. 

BACK FROM CALIFORNY; Or, Old Clothes. 

3 m. Time, 12 m. Dr. Squozzle and Zip Johnson, a returned Calif ornian, try to get some 
sleep in the office of a hotel while waiting for a train. Taking off their coats, etc., things get 
badly mixed and the clothes are locked in the wrong trunks. In the row that ensues Zip and 
Squozzle find they are brothers-in-law. 

UNCLE JEFF. 

A farce. 5 m. (2 negroes), 2 f. Time, 25 m. Uncle Jeff is full of mischief. Dr. Cole is in 
eve with Mrs. Grimes. Harry, his son, is devoted to her daughter Josephine. The old folks op- 
pose the match, and Uncle Jeff plays some queer jokes to assist Harry. A very popular farce. 

ALL EXPENSES; Or, Nobody's Son. 
2 m. Time 10 m. Artemus Buz is a manager, and Jemius Fluticus applies for a situation 
in his company. Very funny. 

PROF. BLACK'S FUNNTQRAPH. 

A nigger burlesque on the phonograph; 6 m., and niggers for audience (on the stage.) 
Time, 15 m. Prof. Black delivers to an appreciative audience a lecture on the wonderful funny- 
graph. The whole performance is as innocent as a spring lamb, and full of business as a spring 
goat. 

JUMBO JUM. 

A farce; 4 m (1 negro), 3 f. Time, 30 min. Scenes: Plain rooms and a garden. This is a 
popular farce wherever negro humor of the stage type is appreciated. Jumbo Jum is employed as 
a farm hand by Mr. Gobbleton. He proves to be a genuine African monkey who gets everything 
wrong end first in a most ludicrous way. The business is very lively and taking. 



NEW PLAYS, 

PRICE, - - - FIFTEEN CENTS EACH. 



SEA DRIKX- 

A stirring drama in 4 acts, by Harry Houston; 6 m., 2 f. (sailors, etc.) Time, about 2 hours. 
Scenes: The seacoast, cabin, gentleman's manor, landscape. Storm scenes and very effective ac- 
cessories. Within the capacity of any good club. Old Cripps and Monk are fine serio-tragic 
characters. Matt, called " Sea Drift, 11 is a fine young-lady character of the uncut gem variety. 
Mother Carew, the crazy witch, is finely emotional. O'Dowd is a good typical Irishman, and 
Vesey a capital English dude. The perils of the orphan girl, Sea Drift, enlist at once the sym- 
pathies of the audience. 

A capital comedy in two acts, from the German of Benedix, by H. B. Sonneborn; 3 m., 2 f. 
Time, one hour. Drissler is a dry-as-dust professor in Kikeka College. He marries Cleopatra, a 
handsome young woman. He expects her to eat off a pine table and live as he had done while a 
bachelor. She decidedly objects, and the way she carries her point is thoroughly enjoyable. Digby 
and Delia, the servants, are capital comedy, and the professor is a capital " freak. 11 Sure to take. 

BLIND MARGARET. 

A musical sketch, from Longfellow's poem of the same name, by Caroline E. Thompson; 3 
m., 3 f., and chorus. Time, 30 minutes. Original music for the refrain. 

THE^OMAN HATER " 

A farce from the German of Benedix, by Hilton B. Sonneborn; 2 m , 1 f. Time, 30 minutes 
Betsey and Gus are newly married, and G is inclined to be jealous of his bride. Frelin, a frienfii 
of Gus, has been jilted, and becomes a woman hater. He visits Gus and B., and acts like a beal 
at first. Betsey, by an innocent stratagem, contrives to make him admit the charms of the fail 
sex; at the same time she wins a philopena from her jealous husband. Excellent. 



WHO TOLD THE LIE? 

Farce from the German, by H. B. Sonneborn; 5 m., 3 f. Time, 30 minutes. The plot hingrf 
on the concealment by Edith Stevens, an heiress, of some men suspected of engaging in a street 
riot. She invites them to tea, and furnishes them with disguises. For a time they cleverly elud« 
the police and her guardian. One of the suspects turns out to be an old lover. Good German and 

Irish Characters 



Demsons Descriptive List, 



19 



AMATE URS' SU PPLIES. 

TABLEAU LIGHTS. — A tableau has usually little effect unless strongly illuminated. 
Several colors, but red, green and white, answer nearly all purposes. 

Place in a dish or on a brick, and ignite with a match. Persons often ask, Do these lights 



produce disagreeable fumes? All chemical lights produce some smoke and odor. 

Price per package (for two Tableaux) $ .50 

u per pound (assorted colors) 1.75 

Packages double size, and sufficient for the Second Illumination. 
MAGNESIUM LIGHT. — A metal ribbon which may be ignited with a common match 

Brilliant, whitish light. Every one should see this beautiful light, entirely free from 

smoke or odor. Price by mail, postpaid 25 

BURNT CORK, per Box 30 

LIGHTNING, per Box 40 

SPIRIT GUM, per Bottle (not mailable) 25 

BLUE for Unshaven Faces in Comedy Characters, per Box 25 

JARMINE, to heighten effect of Burnt Cork, per Box 30 

DUTCH PINK, for Sallow Complexions, per Box 25 

JOINING PASTE, for joining Wigs to Forehead, per Stick 25 

MONGOLIAN, for Indians, Mulattoes, etc., per Box 30 

RUDDY ROUGE, for Low Comedy, Seamen, etc., per Box , 30 

WHITING, for Pantomimes, Clowns, Statuary, etc., per Box 25 

CHROME, for sallow complexions, lightening eyebrows, mustaches, etc 25 

PREPARED FULLER'S EARTH, to powder face before making up SO 

MAKE UP PENCILS, Light Flesh, Dark Flesh, Brown, Black, White, Gray, Carmine, 

Blue an d Lake, per Set $1.00 

LINING PENCILS, each 25 

HELMER'S MAKE UP BOOK, tells how to make up and use all articles needed by 

Amateurs. An invaluable assistant 25 

WHISKERS AND MUSTACHES. 

Side Whiskers and Mustache on Gauze $2.00 

Side Whiskers and Mustache on Wire 1 50 

Side Whiskers without Mustache on Gauze 1 .50 

Side Whiskers without Mustache on Wire 1.00 

Full Beard ... 1.50 

Full Beard without Mustache 1.25 

Mustache with Chin Beard combined 2.00 

Chin Beard 1.25 

Imperial (with wax) 30 

Mustache (with wax) on Gauze 35 

WIGS. 

Negro Black, $1.25; Gray, $2.00 

C lown , in Colors 4.50 

Clown, Bald , 2.00 

Irish (crop) 4.50 

Bald 4.50 

Ordinary Dress (all colors) 4 .50 

Fancy Dress , $6.00 to 10.00 

CRAPE HAIR, different colors, for making- mustaches, etc., per yard 25 



1ST' In ordering Wigs give Size of Hat. State Color wanted on all Hair Goods. 



Hair goods mailed free ; I do not keep Wigs in stock, but get them made to order. Usually 
goods can be sent by return mail or express, but it is best to allow a margin of two or three days. 

O. O. D. orders must be accompanied by twenty per cent, of price of goods. Do not send 
orders by telegraph on a few hours'* notice. 

can furnish any article needed by Amateurs. 



T, S. DENISOU, Pxtblishe^, 

163 Randolph Street, CHICAGO. 



20 



Deniso?is Descriptive List. 



AMATEURS' SUPPLIES. 

Bole Armenia, in Sunburnt Characters 20c. 

Face Powders, White, Pink, Brunette 25c. 

Eye Brow Pencils, Blue, Black, Brown # 25c. 

Email Noir, Black, for stopping out Teeth 20c. 

Theater Rouge 25c. 

Hair Powders, White, Gold, Silver, Diamond, Bronze and Blonde, each. 25c. 

Powder Puffs 10c. to 50c. 

Grenadine Rouge, for the Lips 25c. 

Hares' Feet 25c. 

M 11 Ivory handle : 50c. 

India Ink I Oc. 

Stomps, Leather (for lining) 20c. 

" Paper 05c. 

Nose Putty, for Building up the Nose 25c. 

Gocoa Butter, for removing Grease Paint 25c. 

Vaseline, for removing Grease Paint 25c. 

Curling Irons, all sizes, from 10c. to $1.50 



CREASE PAINTS. 

No. i. Very Pale Flesh Color. No. io. Sallow, for Old Age. 

2. Light Flesh, Deeper Tint. " ii. Ruddy, " 

3. Natural Flesh Color for Juvenile Heroes. " 12. Olive, Healthy. 

4. Rose Tint " " " " 13. " Lighter Shade. 

5. Deeper Shade " " " 14. Gipsey Flesh Color. 

6. Healthy Sunburnt " " " 15. Othello. 

7. " " Deeper Shade. " 16. Chinese. 

8. Sallow, for Young Men. " 17. Indian. 

9. Healthy Color, for Middle Ages. " 18. East Indian. 

(Done up in Sticks of 8 inches in length at 50c. each.) 

MAKE UP BOX, Contains 

A Set of Grease Paints, light and dark flesh, brown, black, white, blue, gray, 
light and dark rouge — Powder Puff — Cocoa Butter — 2 Brushes — 1 Theater Rouge 
— Grenadine — Spirit Gum — India Ink — Mirror — Hare's Foot — 2 Stomps — 2 Shades 
Water Cosmetique — Cosmetique Brush — 2 Shades Face Powder — Email Noir — 
Scissors — Crape Hair — Nose Putty and Mustache Cosmetique. $5.00. 




MISS BEACH'S CURLING FLUID 

Keeps the hair in curl for days. No Odor or Sediment. 
Harmless. Gives vigor and beauty to hair, increases its 
growth. A Toilet Necessity. During rehearsals and 
at parties or other public assemblies, ladies have great 
difficulty in keeping their hair neat with the appear- 
ance of natural curls. This preparation is all that is 
claimed for it. Give it a trial. At druggi e+ * eo "* 
prepaid, 50c. Lady Agents wanted. 



T. S. DENISON 



163 Randolph Street, 



CHICAGO, ILL. 



RTHIOPIAN PLAYS 



Price 15 Cents Each, Postpaid. 



These plays are all short, and very funny. Little or no stage 
apparatus is required. The number of darkies is given in those plays in 
which white characters occur. 



STAGE STRUCK DARKEY. 

A very funny burlesque on high act- 
ing; 2 m., 1 f. Time. 10 m. Three 
negroes play Claude Melnotte, Lady 
Macbeth, Macduff, "Lucimicus/' Damon 
and Pythias, etc. 

STOCKS UP— STOCKS DOWN. 

2 m. A played-out author and his 
sympathizing friend. Time, S m. Very 
funny and full of business. Ludicrous 
description of a fire. 

DEAF — IN A HORN. 

2 m. Negro musician and a deaf pupil. 
Time, 8 m. The "pupil" has a large horn 
which he uses for an ear trumpet, pre- 
tending to be very deaf. By stratagem 
the teacher causes him to hear suddenly. 

HANDY ANDY. 

2 m. s master and servant. Time, 12 m. 
Servant makes all sorts of ludicrous mis- 
takes, and misunderstands every order. 

THE MISCHIEVOUS NIGGER. 

A very popular farce; 4 m., 2 f. Time, 
20 m. (Only one darky, the mischievous 
nigger.) Scene : Chamber and bedroom 
off. Requires two sham babies. Char- 
acters : Antony Snow (the nigger), old 
man, French barber, Irishman, nurse, 
Mrs. Norton. 

THE SHAM DOCTOR. 

A negro farce; 4 m., 2 f. Time, 15 m. 
Liverheel turns doctor, and practices on 
"old Johnson." The sham doctor will 
bring down the house. 

NO CURE, NO PAY. 

3 m. (1 darky), 1 f. Time, 10 m. Will 
suit the most fastidious; a good piece for 
school or parlor. 

HAUNTED HOUSE. 

2 m., landlord and a whitewasher (also 
2 or 3 ghosts.) Time, S m. The white- 
washer discovers spirits in a house where 
he is at work, and is frightened badly in 
consequence. 

AN UNHAPPY PAIR. 

3 m. (and males for a band ) Time, 10 
m. Two hungry " niggers" strike the 
musicians for a square meal. Good for 
school or parlor. Very funny; ends with 
a burlesque duet. 



THE TWO POMPEYS. 

4 m. Time, S m. A challenge to a 
duel is worked up in a very humorous 
manner until the courage oozes out of the 
duellists. 

TRICKS. 

A negro farce; 5 m., 2 f. Time, 10 m. 
(Only 2 darkies, 1 m., 1 f.) 

THE JOKE ON SQUINIM. 

A negro farce (Black Statue improved), 
by W. B. Sheddaw; 4 m., 2 f. Time, 25 
m. Scenes: A barn and a plain room. 

QUARRELSOME SERVANTS. 

3 m. Time, 8 m. Mr. Jenkins is un- 
able, to procure servants who will not 
quarrel. He advertises for a male cook 
and an hostler. The interview with the 
candidates is uproariously comical. 

SPORTS ON A DARK. 

3 m. Time, 8 m. Two niggers who 
are dead broke meet and get acquainted. 
Business is very lively and taking. 

OTHELLO AND DESDEMONA. 

2 m. Time, 12 m. A side-splitting 
burlesque on the chamber scene in 
Othello. The strangling of "Desdemo- 
na" will bring down the house every 
time. 

BACK FROM CALIFORNY; Or, Old 

Clothes. 

3 m. Time, 12 m. Things get badly 
mixed and the clothes are locked in the 
wrong trunks. 

UNCLE JEFF. 

A farce. 5 m. (2 negroes.) 2 f. Time, 
25 m. A very popular farce. 

ALL EXPENSES; Or Nobody's Son. 

2 m. Time, 10 m. Artemus Buz is a 
manager, and Jemius Fluticus applies for 
a situation in his company. Very funny, 

PROF. BLACK'S FUNNYGRAPH. 

A nigger burlesque on the phonograph; 
6 m., and niggers for audience t^on the 
stage). Time, 15 m. 

JUMBO JUM. 

A farce. 4 m. (1 negro), 3 f. Time, 30 
m. A popular farce wherever negro 
humor of the stage type is appreciated. 



T. S. DENISON, Publisher, 163 Randolph Street, CHICAGO. 



Any Play on this List 15 Cts. Postpaid. Catalogue Free. 



Plays by T. S. DENISON. 

That the plays written by T. S. Deni- 
son are, all things considered, the best 
for amateurs, is attested by their very 
large and increasing sale. 

ODDS WITH THE ENEMY. 

A drama in five acts; 7 male and 4 
female characters. Time, 2 hours. 

SETH GREENBACK. 

A drama in 4 acts; 7 male and 3 fe- 
male Time, 1 h., 15 m. 

INITIATING A GRANGER. 

A ludicrous farce; 8 male. Time, 25 m. 
WANTED, A CORRESPONDENT. 

A farce in 2 acts; 4 male, 4 female. 
Time, 45 m. 

A FAMILY STRIKE. 

A farce, 3 male, 3 female. Time, 20 m. 
TWO GHOSTS IN WHITE. 

_ A humorous farce, boarding school 
life; S female characters. Time, 25 m. 

THE ASSESSOR. 

A humorous sketch; 3 male and 2 fe- 
male. Time, 10 m. 

BORROWING TROUBLE. 

A ludicrous farce; 3 male and 5 fe- 
male. Time, 20 m. 

COUNTRY JUSTICE. 
Amusing country lawsuit ; 3 male 
characters. (May admit 11.) Time, 15 m. 
THE PULL-BACK. 
A laughable farce; 6 female. Time, 
20 m. 

HANS VON SMASH. 

A roaring farce in a prologue and one 
act; 4 male and 3 female. Time, 30 m. 

OUR COUNTRY. 

A patriotic drama. Requires to male * 
5 female. (Admits 11 m. 15 f.) Four fine 
tableaux. Time about 1 hour. 

THE SCHOOLMA'AM. 

A brilliant comedy in 4 acts; 6 male, 5 
female. Time 1 hour, 45 m. 

THE IRISH LINEN PEDDLER. 

A lively farce; 3 male, 3 female. Time 
40 m. 

THE KANSAS IMMIGRANTS. 

A roaring farce; 5 male, 1 female. 
Time, 20 m. 

TOO MUCH OP A GOOD THING. 

A capital farce ; 3 male, 6 female. 
Time, 45 m. 



IS THE EDITOR IN? 

A farce; 4 male and 2 female; 20 m. 
AN ONLY DAUGHTER. 

A drama in 3 acts; 5 male and 2 fe ■ 
male. Time, 1 hour, 15 ra. 

PETS OF SOCIETY. 
A farce; 7 female. Time, 25 m. 

HARD CIDER. 
A very amusing temperance sketch; 4 
male, 2 female. Time, 10 m. 

LOUVA, THE PAUPER. 

A drama in 5 acts; 9 male and 4 fe- 
male characters. Time, 1 hour, 45 m. 

UNDER THE LAURELS. 

A drama in five acts; a stirring play, 
fully equal to Louva the Pauper. Five 
male, 4 female. Time, 1 hour, 45 m. 

THE SPARKLING CUP. 

A temperance drama in five acts; 12 
male and 4 female. Time 2 h. 

THE DANGER SIGNAL. 

A drama; 7 male, 4 female. Time, 2 h. 
WIDE ENOUGH FOR TWO. 

A farce; 5 male, 2 female. Time, 45 m. 

BOOKS FOR ENTERTAINMENTS. 

WORK AND PLAY. 

For little folks. Exercises in letters, 
numbers, objects, geography, animals, 
motion-songs, dialogues, charades, etc., 
etc., postpaid, 50c. 

PRANKS AND PASTIMES. 

For home, school or church. Nearly 
100 games, charades, scenes, etc., 50c. 

Negro Minstrel Book, 25c. 

Social Games at Cards, 25c. 

Private Theatricals, h'ow to get up, 
25c. 

WHEN LESSONS ARE OVER. 

Dialogues, Plays, Nuts to Crack, 25c. 
ENCHANTED WOOD 

Bright, New Opera. Price, 35c. 

Dialect Reading's, humorous, 25c. 
THE FRIDAY DIALOGUES. 
Short, lively. Boys and Girls. Price 25c. 
FRIDAY AFTERNOON SPEAKER. 

For little folks, for older boys and girls, 
short, pithy dialogues. Price 25c. 

Dialogues from Dickens, 25c. 

Shadow Pictures, Pantomimes, Tab- 
leaux, etc., etc, 25c. 

Choice Pieces for Little People, 25c. 

School and Parlor Tableaux, 25c. 

Debater's Handbook, cloth, 50c. 

Everybody's Letter Writer, 30c. 

Good Manners, paper cover, 30c. 



T. S. DENISON, Publisher, 163 Randolph Street, CHICAGO. 



